7HOLLYWOOD ICONS

HOLLYWOOD

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ISSUE 1. FALL/WINTER 2012

ICONS ADAM LEVINE

Bella Heathcote / Sophia Loren David Gandy / Céline Dion Sigrid Agren / Ke$ha

HOLLYWOOD

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ISSUE 1. FALL/WINTER 2012

ICONS BELLA HEATHCOTE ADAM LEVINE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

HOLLYWOOD

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ISSUE 1. FALL/WINTER 2012

ICONS SOPHIA LOREN

ADAM LEVINE / BELLA HEATHCOTE DAVID GANDY / Céline Dion SIGRID AGREN / Ke$ha

HOLLYWOOD

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ISSUE 1. FALL/WINTER 2012

ICONS DAVID GANDY

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / CÉLINE DION SIGRID AGREN / KE$HA

HOLLYWOOD ISSUE 1. FALL/WINTER 2012

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ICONS CÉLINE DION

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY SIGRID AGREN / KE$HA

HOLLYWOOD

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ISSUE 1. FALL/WINTER 2012

ICONS SIGRID AGREN

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY CÉLINE DION / KE$HA

HOLLYWOOD

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ISSUE 1. FALL/WINTER 2012

ICONS KE$HA

ADAM LEVINE / CÉLINE DION SOPHIA LOREN / DAVID GANDY BELLA HEATHCOTE / SIGRID AGREN

jeanpaulgaultier.com

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It’s the modern-day Mount Olympus. This is the city where artists from every culture hope to “make it,” taking their place in the pantheon of screen gods and goddesses, musical mavericks and cultural avatars who maintain this town’s undisputed status as the world’s dream factory. 7 Hollywood welcomes you to an avant-garde view of the worlds of style, art and culture: seven covers with seven stars to fully convey the glittering constellation of our unique universe. This town where fanta-

8

7 HOLLYWOOD |FALL FALL/ 2012 WINTER 2012

ADAM LEVINE

ICONS BELLA HEATHCOTE ADAM LEVINE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ICONS SOPHIA LOREN

ADAM LEVINE / BELLA HEATHCOTE DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ICONS DAVID GANDY

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / CÉLINE DION SIGRID AGREN / KE$HA

HOLLYWOOD

HOLLYWOOD

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

ISSUE 1 FALL / WINTER 2012

ISSUE 1 FALL / WINTER 2012

ICONS CÉLINE DION

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY SIGRID AGREN / KE$HA

ICONS SIGRID AGREN

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY CÉLINE DION / KE$HA

US $15.00

ICONS BELLA HEATHCOTE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ISSUE 1 FALL / WINTER 2012

US $15.00

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

US $15.00

US $15.00

THERE'S SOMETHING IN THE AIR IN HOLLYWOOD...

ICONS KE$HA

ADAM LEVINE / CÉLINE DION SOPHIA LOREN / DAVID GANDY BELLA HEATHCOTE / SIGRID AGREN

sies are made real, a place that distills the world’s myths and magic into moving pictures. Seven covers starring seven icons of today and tomorrow, a magazine where the world can discover and explore the beauty, depth and vision of a city that other cities from New York to London to Paris and beyond reinterpret season after season, year after year, decade after decade. We invite you to meet the freshest new talents, while simultaneously celebrating the icons that continue to inspire us all.

7 HOLLYWOOD | FALL / WINTER 2012

9

It’s the modern-day Mount Olympus. This is the city where artists from every culture hope to “make it,” taking their place in the pantheon of screen gods and goddesses, musical mavericks and cultural avatars who maintain this town’s undisputed status as the world’s dream factory. 7 Hollywood welcomes you to an avant-garde view of the worlds of style, art and culture: seven covers with seven stars to fully convey the glittering constellation of our unique universe. This town where fanta-

8

7 HOLLYWOOD |FALL FALL/ 2012 WINTER 2012

ADAM LEVINE

ICONS BELLA HEATHCOTE ADAM LEVINE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ICONS SOPHIA LOREN

ADAM LEVINE / BELLA HEATHCOTE DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ICONS DAVID GANDY

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / CÉLINE DION SIGRID AGREN / KE$HA

HOLLYWOOD

HOLLYWOOD

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

ISSUE 1 FALL / WINTER 2012

ISSUE 1 FALL / WINTER 2012

ICONS CÉLINE DION

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY SIGRID AGREN / KE$HA

ICONS SIGRID AGREN

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY CÉLINE DION / KE$HA

US $15.00

ICONS BELLA HEATHCOTE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ISSUE 1 FALL / WINTER 2012

US $15.00

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

US $15.00

US $15.00

THERE'S SOMETHING IN THE AIR IN HOLLYWOOD...

ICONS KE$HA

ADAM LEVINE / CÉLINE DION SOPHIA LOREN / DAVID GANDY BELLA HEATHCOTE / SIGRID AGREN

sies are made real, a place that distills the world’s myths and magic into moving pictures. Seven covers starring seven icons of today and tomorrow, a magazine where the world can discover and explore the beauty, depth and vision of a city that other cities from New York to London to Paris and beyond reinterpret season after season, year after year, decade after decade. We invite you to meet the freshest new talents, while simultaneously celebrating the icons that continue to inspire us all.

7 HOLLYWOOD | FALL / WINTER 2012

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7 FALL HOLLYWOOD / WINTER| 2012 FALL |/ WINTER 7HOLLYWOOD 2012 11

From Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

7 FALL HOLLYWOOD / WINTER| 2012 FALL |/ WINTER 7HOLLYWOOD 2012 11

From Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

ICON forever

HOLLYWOOD

EDITOR IN CHIEF / CREATIVE DIRECTOR Elie Wizman CONSULTING CREATIVE DIRECTOR Alix Malka FASHION DIRECTOR Elizabeth Stewart EUROPEAN FASHION DIRECTOR Barbara Baumel FASHION EDITOR-AT-LARGE Loïc Masi CONTRIBUTING FASHION EDITORS Zanna Robert Rassi, Annie Horth, Martina Nilsson, Tanya Gill DEPUTY FASHION EDITORS Devon Nuszer, Jordan Grossman, Tess Callner FEATURES DIRECTOR Robert Barr SPECIAL CONTRIBUTOR Rose Apodaca CULTURE EDITOR Joyce Pennell ENTERTAINMENT EDITOR Jake Savage CONTRIBUTING EDITORS Sabrina Cognata, Roberta Cruger, Roberto Reyes COPY EDITOR Rick Balian ART DIRECTOR Ania Diakoff CONSULTING ART DIRECTOR Nazy Alvarez DESIGN DIRECTOR James Gamboa DESIGN CONSULTANTS Ryan Weafers, Jan-Willem Dikkers, Darren Craig/The Uprising Creative, Simon McLoughlin, Patrick Novales, Robbie Sherman PRODUCER David Ohayon ASSISTANT TO THE PRODUCER Mingyue Chen PRODUCER (NEW YORK) Nathalie Akiya, Kranky Produktions EUROPEAN REPRESENTATIVE Helen Kupfer DISTRIBUTION David Renard DISTRIBUTORS Speedimpex, Comag CELEBRITIES PROJECTS Rick Ferrari SPECIAL PROJECTS Katerina Alekos,Vanessa Morgenstern-Kenan PHOTO PRODUCERS Alan Castro, Brandon Luong SYNDICATION H and K Paris SOCIAL MEDIA Arizka Sehoko FINANCIAL CONTROLLER Michael Ullman, Platinum Financial Management, Inc. ADVERTISING Steven Burch, 7HOLLYWOOD.com RETOUCHERS 2bd Retouching, Pushing Pixels, Lunatix, 4C Imaging PRINTING Clear Image Printing Company, Inc. SPECIAL THANKS TO Smashbox Studios ACKNOWLEDGEMENTS Agnes Barbier/Anna Geyer/Jean-Jacques Picart/Bobby Heller/Jorge Perez/William Middleton/Wes at Connect The Dots, Inc./Alek and Steph/ OUTNEXT/Alexis Page, Denise Honnegan and Heather Wardally/M.A.C. Cosmetics/Ali/Women/Allisson Edmond/Anne de Martino/C. Graeme Kalb/ Carlo/Smash Box Digital/Charly and Steve/Opus Beauty/Charnelle Aim Artists/Christophe de la Taillade/Clarins Group/Cindy Carrandi/M.A.C. Cosmetics/ Claire/JPGoude/Cori Galpern and Cliff Fleiser/Tom Ford International/Denisse Montfort/PMK*BNC/Ame Van Iden/PMK*BNC/Ed/Smashbox Digital/Elite Model LA/Evelyne/RVZ/Ford Models LA/Francoise/HK/Frederic and Nathalie/New Madison Paris/Gaul Porat/Giovanna Borletti/Greg/Smashbox Equipment/Guillaume/Ford Men/Guillaume Marilyn/Gus Dering/Helene/Nathalie/Jacob Edward/Jahleel Weaver/Jake Schmidt/Jean Jacques Picart/Jelka Music/Jerry Kubuk/Jessica Youn/LACMA/John/Women/Jonlin Wung/Honor Fraser Gallery/Judith Assaraf/Kevin Mc Carthy/Kim/The Magnet Agency/Kim Bowen/Kim Jakwerth/LA Models/Lauren/Atelier Management/Lina Attisano/Lucas Dresie/Madeline/Cloutier Remix/Thierry Mugler Parfums/Marjorie/Yumikito/Myriam Obadia/Elite Model France/Natalie/Opus Beauty/Nate M. Jensen/Nathalie/New Madison/Neill McCutcheon/Patricia Louise/Pat R. Milliken/Peter H/Photogenics/ Smashbox/Salvo/Karla Otto/Shelby/Milk Digital/Sherry Appleby/Shirley Briswalter/Stefano Poli/Digitart Paris/Summer Parker/Susie Im/Sylvie Beauregard/ Thao Dai Nguyen/Thomas Moore/Virginie/JPGoude/Vision LA Models COPYRIGHT © 2012 7HOLLYWOOD THE MAGAZINE is published twice a year by Elie Wizman, LLC. All rights reserved. No part of this publication may be reproduced in whole or part without written permission from the publisher.

The views expressed in the publication are those of the contributors and are not necessarily shared by the publication.

The publication accepts no responsibility for the loss of or damage to photographic works, artwork or manuscripts.

TO GET MORE FROM THE WORLD OF 7HOLLYWOOD, GO TO HTTP://WWW.7HOLLYWOOD.COM

cover credits: ADAM LEVINE:cream Clinique Skin Supplies For Men M Lotion, cologne Burberry The Beat For Men By Burberry. photographer Alix Malka. stylist Katerina Mukhina.

BELLA HEATHCOTE: Chanel Haute Joaillerie geode ring, Chanel Cruise 2013 necklace. photographer Alix Malka. stylist Elizabeth Stewart.

CELINE DION: Balmain top. photographer Alix Malka. stylist Annie Horth.

SIGRID AGREN: Alexandre Vauthier Haute Couture embroidered bodysuit. photographer Saitoshi Atoshi. stylist Loïc Masi.

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7 HOLLYWOOD | FALL / WINTER 2012

SOPHIA LOREN: Giorgio Armani top Alexandre Vauthier accessories. photograper Alix Malka. stylist Barbara Baumel.

DAVID GANDY: Dolce & Gabbana jacket, shirt and tie. photographer John Ryder. stylist Loïc Masi.

KE$HA: Zaldy Vest; Prb Pr hat. photographer Alix Malka. stylist Zaldy.

GRETA GARBO

(ca. 1926) photo Ruth Harriet Louise courtesy The Collections of the Margaret Herrick Library

ICON forever

HOLLYWOOD

EDITOR IN CHIEF / CREATIVE DIRECTOR Elie Wizman CONSULTING CREATIVE DIRECTOR Alix Malka FASHION DIRECTOR Elizabeth Stewart EUROPEAN FASHION DIRECTOR Barbara Baumel FASHION EDITOR-AT-LARGE Loïc Masi CONTRIBUTING FASHION EDITORS Zanna Robert Rassi, Annie Horth, Martina Nilsson, Tanya Gill DEPUTY FASHION EDITORS Devon Nuszer, Jordan Grossman, Tess Callner FEATURES DIRECTOR Robert Barr SPECIAL CONTRIBUTOR Rose Apodaca CULTURE EDITOR Joyce Pennell ENTERTAINMENT EDITOR Jake Savage CONTRIBUTING EDITORS Sabrina Cognata, Roberta Cruger, Roberto Reyes COPY EDITOR Rick Balian ART DIRECTOR Ania Diakoff CONSULTING ART DIRECTOR Nazy Alvarez DESIGN DIRECTOR James Gamboa DESIGN CONSULTANTS Ryan Weafers, Jan-Willem Dikkers, Darren Craig/The Uprising Creative, Simon McLoughlin, Patrick Novales, Robbie Sherman PRODUCER David Ohayon ASSISTANT TO THE PRODUCER Mingyue Chen PRODUCER (NEW YORK) Nathalie Akiya, Kranky Produktions EUROPEAN REPRESENTATIVE Helen Kupfer DISTRIBUTION David Renard DISTRIBUTORS Speedimpex, Comag CELEBRITIES PROJECTS Rick Ferrari SPECIAL PROJECTS Katerina Alekos,Vanessa Morgenstern-Kenan PHOTO PRODUCERS Alan Castro, Brandon Luong SYNDICATION H and K Paris SOCIAL MEDIA Arizka Sehoko FINANCIAL CONTROLLER Michael Ullman, Platinum Financial Management, Inc. ADVERTISING Steven Burch, 7HOLLYWOOD.com RETOUCHERS 2bd Retouching, Pushing Pixels, Lunatix, 4C Imaging PRINTING Clear Image Printing Company, Inc. SPECIAL THANKS TO Smashbox Studios ACKNOWLEDGEMENTS Agnes Barbier/Anna Geyer/Jean-Jacques Picart/Bobby Heller/Jorge Perez/William Middleton/Wes at Connect The Dots, Inc./Alek and Steph/ OUTNEXT/Alexis Page, Denise Honnegan and Heather Wardally/M.A.C. Cosmetics/Ali/Women/Allisson Edmond/Anne de Martino/C. Graeme Kalb/ Carlo/Smash Box Digital/Charly and Steve/Opus Beauty/Charnelle Aim Artists/Christophe de la Taillade/Clarins Group/Cindy Carrandi/M.A.C. Cosmetics/ Claire/JPGoude/Cori Galpern and Cliff Fleiser/Tom Ford International/Denisse Montfort/PMK*BNC/Ame Van Iden/PMK*BNC/Ed/Smashbox Digital/Elite Model LA/Evelyne/RVZ/Ford Models LA/Francoise/HK/Frederic and Nathalie/New Madison Paris/Gaul Porat/Giovanna Borletti/Greg/Smashbox Equipment/Guillaume/Ford Men/Guillaume Marilyn/Gus Dering/Helene/Nathalie/Jacob Edward/Jahleel Weaver/Jake Schmidt/Jean Jacques Picart/Jelka Music/Jerry Kubuk/Jessica Youn/LACMA/John/Women/Jonlin Wung/Honor Fraser Gallery/Judith Assaraf/Kevin Mc Carthy/Kim/The Magnet Agency/Kim Bowen/Kim Jakwerth/LA Models/Lauren/Atelier Management/Lina Attisano/Lucas Dresie/Madeline/Cloutier Remix/Thierry Mugler Parfums/Marjorie/Yumikito/Myriam Obadia/Elite Model France/Natalie/Opus Beauty/Nate M. Jensen/Nathalie/New Madison/Neill McCutcheon/Patricia Louise/Pat R. Milliken/Peter H/Photogenics/ Smashbox/Salvo/Karla Otto/Shelby/Milk Digital/Sherry Appleby/Shirley Briswalter/Stefano Poli/Digitart Paris/Summer Parker/Susie Im/Sylvie Beauregard/ Thao Dai Nguyen/Thomas Moore/Virginie/JPGoude/Vision LA Models COPYRIGHT © 2012 7HOLLYWOOD THE MAGAZINE is published twice a year by Elie Wizman, LLC. All rights reserved. No part of this publication may be reproduced in whole or part without written permission from the publisher.

The views expressed in the publication are those of the contributors and are not necessarily shared by the publication.

The publication accepts no responsibility for the loss of or damage to photographic works, artwork or manuscripts.

TO GET MORE FROM THE WORLD OF 7HOLLYWOOD, GO TO HTTP://WWW.7HOLLYWOOD.COM

cover credits: ADAM LEVINE:cream Clinique Skin Supplies For Men M Lotion, cologne Burberry The Beat For Men By Burberry. photographer Alix Malka. stylist Katerina Mukhina.

BELLA HEATHCOTE: Chanel Haute Joaillerie geode ring, Chanel Cruise 2013 necklace. photographer Alix Malka. stylist Elizabeth Stewart.

CELINE DION: Balmain top. photographer Alix Malka. stylist Annie Horth.

SIGRID AGREN: Alexandre Vauthier Haute Couture embroidered bodysuit. photographer Saitoshi Atoshi. stylist Loïc Masi.

12

7 HOLLYWOOD | FALL / WINTER 2012

SOPHIA LOREN: Giorgio Armani top Alexandre Vauthier accessories. photograper Alix Malka. stylist Barbara Baumel.

DAVID GANDY: Dolce & Gabbana jacket, shirt and tie. photographer John Ryder. stylist Loïc Masi.

KE$HA: Zaldy Vest; Prb Pr hat. photographer Alix Malka. stylist Zaldy.

GRETA GARBO

(ca. 1926) photo Ruth Harriet Louise courtesy The Collections of the Margaret Herrick Library

mugler.com

Eva Mendes

mugler.com

Eva Mendes

ICONS ISSUE ISSUE 1 | FALL / WINTER 2012

contents

ELIZABETH TAYLOR and MONTGOMEY CLIFT

in a scene from A Place In The Sun (1951) courtesy The Collections of the Margaret Herrick Library

22. KATHARINE MCPHEE...L’Ange Noir

142. SOPHIA LOREN...Now and Forever

34. CHRISTIAN LOUBOUTIN...The Real Prince Charming

150. TOM FORD...Glamorama

38. WHO'S NEXT...Isabelle Nicolay

160. DIANA VREELAND...The Visionary

40. MARTY CALLNER...Set the Standard

162. ADAM LEVINE...Wanted Man

41. BACK TO THE FUTURE

170. ANDREJ PEJIC...The Boy Can’t Help It

42. MAISON MARTIN MARGIELA...Artisanal...Face Off

178. HER MAJESTY

50. W MAGAZINE THE FIRST 40 YEARS...Review

182. AUSTIN YOUNG...Tranimal Workshop

52. MAC COSMETICS...Never Afraid to Lash Out

190. CÉLINE DION...Legendary

56. YOUNG HOLLYWOOD...Reid, Heggins, Greenwell, Davis

200. BEAUTY PREVIEW...Spring Pop

60. VOGUE: THE EDITORS EYE...Review

204. DAVID GANDY...Breaking the Mold

66. ACADEMY AWARDS PREVIEW...2013 Oscars: Going for Gold

236. CATHERINE BABA...The Divine Miss B

72. ROSSON CROW...As the Crow Flies

222. KE$HA...The Warrior

78. PANDEMONIA PANACEA...(Inflatable) Blondes Have More Fun

236. ANNE V...Overnight Sensation

82. FARIDA KHLEFA...Shockingly Chic

248. METAL–MORPHOSIS...Wired, Connected, Matrixed

88. ANTONIO LOPEZ...Fashion, Art, Sex, and Disco

254. SIGRID AGREN...Burning Haute

94. ALEXANDER FERRARIO...The Age of Elegance

41. HEAVEN SCENT

106. PIERRE ET GILLES...Social Mediums

270. NICHOLAS ALAN COPE & DUSTIN EDWARD ARNOLD...L’Atelier

116. ROBERT MAPPLETHORPE...Double Your Pleasure

278. ANGELA LINDVALL...The Playgirl

118. PRIVATE PARTY

286. SWAGGER...Do Clothes Make the Man?

120. CAMERON SILVER...Decades: A Century of Fashion

294. ANNA PIAGGI...Ciao, Anna

122. THE ROLLING STONES...Are the Rolling Stones Satisfied Yet?

296. ROSE APODACA...Hooray for Hollywood

130. BELLA HEATHCOTE...Mademoiselle Bella

300. ROCK 'N ROLL BILLBOARDS...of the Sunset Strip 7 HOLLYWOOD | FALL / WINTER 2012

17

ICONS ISSUE ISSUE 1 | FALL / WINTER 2012

contents

ELIZABETH TAYLOR and MONTGOMEY CLIFT

in a scene from A Place In The Sun (1951) courtesy The Collections of the Margaret Herrick Library

22. KATHARINE MCPHEE...L’Ange Noir

142. SOPHIA LOREN...Now and Forever

34. CHRISTIAN LOUBOUTIN...The Real Prince Charming

150. TOM FORD...Glamorama

38. WHO'S NEXT...Isabelle Nicolay

160. DIANA VREELAND...The Visionary

40. MARTY CALLNER...Set the Standard

162. ADAM LEVINE...Wanted Man

41. BACK TO THE FUTURE

170. ANDREJ PEJIC...The Boy Can’t Help It

42. MAISON MARTIN MARGIELA...Artisanal...Face Off

178. HER MAJESTY

50. W MAGAZINE THE FIRST 40 YEARS...Review

182. AUSTIN YOUNG...Tranimal Workshop

52. MAC COSMETICS...Never Afraid to Lash Out

190. CÉLINE DION...Legendary

56. YOUNG HOLLYWOOD...Reid, Heggins, Greenwell, Davis

200. BEAUTY PREVIEW...Spring Pop

60. VOGUE: THE EDITORS EYE...Review

204. DAVID GANDY...Breaking the Mold

66. ACADEMY AWARDS PREVIEW...2013 Oscars: Going for Gold

236. CATHERINE BABA...The Divine Miss B

72. ROSSON CROW...As the Crow Flies

222. KE$HA...The Warrior

78. PANDEMONIA PANACEA...(Inflatable) Blondes Have More Fun

236. ANNE V...Overnight Sensation

82. FARIDA KHLEFA...Shockingly Chic

248. METAL–MORPHOSIS...Wired, Connected, Matrixed

88. ANTONIO LOPEZ...Fashion, Art, Sex, and Disco

254. SIGRID AGREN...Burning Haute

94. ALEXANDER FERRARIO...The Age of Elegance

41. HEAVEN SCENT

106. PIERRE ET GILLES...Social Mediums

270. NICHOLAS ALAN COPE & DUSTIN EDWARD ARNOLD...L’Atelier

116. ROBERT MAPPLETHORPE...Double Your Pleasure

278. ANGELA LINDVALL...The Playgirl

118. PRIVATE PARTY

286. SWAGGER...Do Clothes Make the Man?

120. CAMERON SILVER...Decades: A Century of Fashion

294. ANNA PIAGGI...Ciao, Anna

122. THE ROLLING STONES...Are the Rolling Stones Satisfied Yet?

296. ROSE APODACA...Hooray for Hollywood

130. BELLA HEATHCOTE...Mademoiselle Bella

300. ROCK 'N ROLL BILLBOARDS...of the Sunset Strip 7 HOLLYWOOD | FALL / WINTER 2012

17

7 FALL HOLLYWOOD / WINTER| 2012 FALL |/ WINTER 7HOLLYWOOD 2012 19

ROLLING STONES/LOVE YOU LIVE (Rolling Stones/Atlantic, 1977) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

7 FALL HOLLYWOOD / WINTER| 2012 FALL |/ WINTER 7HOLLYWOOD 2012 19

ROLLING STONES/LOVE YOU LIVE (Rolling Stones/Atlantic, 1977) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

BELLA HEATHCOTE ADAM LEVINE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ICONS SOPHIA LOREN

ADAM LEVINE / BELLA HEATHCOTE DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ICONS DAVID GANDY

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / CÉLINE DION SIGRID AGREN / KE$HA

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

ISSUE 1 FALL / WINTER 2012

ICONS CÉLINE DION

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY SIGRID AGREN / KE$HA

ICONS SIGRID AGREN

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY CÉLINE DION / KE$HA

ICONS KE$HA

ADAM LEVINE / CÉLINE DION SOPHIA LOREN / DAVID GANDY BELLA HEATHCOTE / SIGRID AGREN

FOR AN AVANT-GARDE VIEW ON THE WORLDS OF FASHION, CINEMA, MUSIC AND ART CULTURE. 7HOLLYWOOD.COM/SUBSCRIBE

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7 HOLLYWOOD | FALL / WINTER 2012

ANTONIO LOPEZ: FASHION, ART, SEX & DISCO by ROGER PADILHA AND MAURICIO PADILHA, copyright THE ESTATE OF ANTONIO LOPEZ AND JUAN RAMOS

ICONS

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

US $15.00

ADAM LEVINE

HOLLYWOOD

US $15.00

ICONS BELLA HEATHCOTE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ISSUE 1 FALL / WINTER 2012

US $15.00

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

US $15.00

US $15.00

HOLLYWOOD

BELLA HEATHCOTE ADAM LEVINE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ICONS SOPHIA LOREN

ADAM LEVINE / BELLA HEATHCOTE DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ICONS DAVID GANDY

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / CÉLINE DION SIGRID AGREN / KE$HA

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

ISSUE 1 FALL / WINTER 2012

ICONS CÉLINE DION

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY SIGRID AGREN / KE$HA

ICONS SIGRID AGREN

ADAM LEVINE / BELLA HEATHCOTE SOPHIA LOREN / DAVID GANDY CÉLINE DION / KE$HA

ICONS KE$HA

ADAM LEVINE / CÉLINE DION SOPHIA LOREN / DAVID GANDY BELLA HEATHCOTE / SIGRID AGREN

FOR AN AVANT-GARDE VIEW ON THE WORLDS OF FASHION, CINEMA, MUSIC AND ART CULTURE. 7HOLLYWOOD.COM/SUBSCRIBE

20

7 HOLLYWOOD | FALL / WINTER 2012

ANTONIO LOPEZ: FASHION, ART, SEX & DISCO by ROGER PADILHA AND MAURICIO PADILHA, copyright THE ESTATE OF ANTONIO LOPEZ AND JUAN RAMOS

ICONS

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

US $15.00

ADAM LEVINE

HOLLYWOOD

US $15.00

ICONS BELLA HEATHCOTE / SOPHIA LOREN DAVID GANDY / CÉLINE DION SIGRID AGREN / KE$HA

ISSUE 1 FALL / WINTER 2012

US $15.00

ISSUE 1 FALL / WINTER 2012

US $15.00

HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

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HOLLYWOOD

ISSUE 1 FALL / WINTER 2012

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HOLLYWOOD

KATHARINE MCPHEE L’ange Noir

KATHARINE MCPHEE SINGS, SHINES AND SCRAPES HER WAY TO THE TOP AS KAREN CARTWRIGHT, THE IOWAN INGÉNUE IN NBC’S HIT SERIES SMASH. NO STRANGER TO CHANGING IT UP, MCPHEE EXPLORES THE DARK SIDE WITH A BLACK BOB AND NEO NOIR LOOKS TO CHANNEL THE SHADOWY SLEEK ALLURE OF HER CO-STAR: SCREEN STYLE ICON ANJELICA HUSTON. PHOTOGRAPHER ALIX MALKA STYLIST TANYA GILL BY ROBERTO REYES

SYREN LATEX COUTURE jacket, CATHERINE

MALANDRINO dress, GLYNNETH B ring

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7 HOLLYWOOD | FALL / WINTER 2012

KATHARINE MCPHEE L’ange Noir

KATHARINE MCPHEE SINGS, SHINES AND SCRAPES HER WAY TO THE TOP AS KAREN CARTWRIGHT, THE IOWAN INGÉNUE IN NBC’S HIT SERIES SMASH. NO STRANGER TO CHANGING IT UP, MCPHEE EXPLORES THE DARK SIDE WITH A BLACK BOB AND NEO NOIR LOOKS TO CHANNEL THE SHADOWY SLEEK ALLURE OF HER CO-STAR: SCREEN STYLE ICON ANJELICA HUSTON. PHOTOGRAPHER ALIX MALKA STYLIST TANYA GILL BY ROBERTO REYES

SYREN LATEX COUTURE jacket, CATHERINE

MALANDRINO dress, GLYNNETH B ring

22

7 HOLLYWOOD | FALL / WINTER 2012

“It’s very flattering.

And from someone I respect— a beautiful compliment!”

ANGELICA HOUSTON 24

7 HOLLYWOOD | FALL / WINTER 2012

EMILIO PUCCI

dress, GLYNNETH B bracelet, VHERNIER earrings and rings, (opposite) CATHERINE MALANDRINO dress, GLYNNETH B ring

“It’s very flattering.

And from someone I respect— a beautiful compliment!”

ANGELICA HOUSTON 24

7 HOLLYWOOD | FALL / WINTER 2012

EMILIO PUCCI

dress, GLYNNETH B bracelet, VHERNIER earrings and rings, (opposite) CATHERINE MALANDRINO dress, GLYNNETH B ring

KATHARINE MCPHEE

You became famous as a singer and now have achieved success as an actress. How do you compare the two? It’s hard; they’re both such different art forms. In music, you’re solo. Everything sort of revolves around your timing of things, when you feel like finishing something and getting the music done and when you think something’s right. In film and television, it’s much more collaborative. You have people who are waiting on you. Not only are you there for a job, everyone’s there for a job. It has much more of a collective feeling. I love both, but it’s very different.

What’s been the most fun about your transition into acting? I did a really small part in an independent film, and then I went and did my first big studio film, which was The House Bunny, and I just loved being on set. Our show is so multifaceted. We get to do so many different things, each week; especially this season coming up. There’s more music, more numbers and more guest stars, so you get to see my character Karen do a lot of different things, and all the other different characters as well are put in positions and opportunities that you haven’t seen in the first season.

Do you have any plans to release another album?

Oh, yes. I’ve been working on it since before I started shooting the first season. Then in hiatus, I got a lot of work done on the record then sort of had to postpone it getting into the second season. Now that I am doing the second season, I’m settled into it, so I have to work on my record on the weekends, in my spare time.

And, hopefully, it’ll have an early release in 2013.

Bombshell, the play within the show, is based on the ultimate showgirl, Marilyn Monroe. How has she influenced your career as a multi-faceted performer?

I don’t know if she’s influenced my career.

Obviously, doing a show like this, you’re kind of forced to look into her life, and it’s been really fascinating to investigate and understand a little bit more. What was kind of fun was last season when we were doing a lot of Marilyn stuff—all the sort of ’50s-inspired little high-

26

7 HOLLYWOOD | FALL / WINTER 2012

necked, button-up blouses and little tee dresses that were coming into fashion.

How did getting involved with Smash come about? I went in, auditioned and got the part.

What goes through someone’s mind when they are about to enter a room and audition for Steven Spielberg? He wasn’t in the room. I was taped for all the producers and waited about 24 hours. It was a pretty exciting 24 hours, just knowing that Steven Spielberg was watching your acting tape was pretty fun. And then I got the call.

Are there any challenges doing a show like this?

I hear you have 16-, 18-hour days. Anjelica herself said, “Katharine is very dedicated to her craft, and works very hard. She puts in very long hours and lots of rehearsal time on Smash.” I don’t think it’s that different from any other television show. The difference is that we are an ensemble show.

Because my character and my co-star Megan Hilty’s character do a lot of the big show numbers, we are constantly going from shooting to dance rehearsal and recording sessions. So, in some ways, it feels like there is never a day to just recuperate. It’s a good problem to have.

The show has a hardcore following, with fans doing recaps on YouTube, investing themselves into the characters. Do people approach you? We have a lot of people yelling out in the middle of scenes and stuff like that when we are shooting on the streets, but other than that, it’s been really sweet fans who want to hang out and take pictures.

Karen Cartwright is bit of an innocent, positioned to be the lamb in a den of professional wolves.

Do you relate to her at all? I relate to her in a lot of ways, the passion for the business that we are all in. I think I share that excitement and passion and the idea of just being relentless until you get what you want.

You started your own charity, McPhee Outreach, pretty early on in your career, where you team up with various organizations. Being so incredibly involved with charitable causes, is there one in particular that's been motivating you lately? I work with Malaria No More. Right after hiatus, I got to go to Ghana. The charity is really more

geared towards children because children under the age of 5 are really the ones affected by it the most. What’s interesting is that malaria is such a way of life there, especially with the adults. Some of them have had malaria 5 to 10 times in their life, it’s sort of like “no big deal,” but it is a big deal for children under the age of five because their immune systems are so small and so young and fragile.

Your co-star Anjelica Huston says you two are “both actresses, working to achieve a sense of coherence and integration, balance, and harmony in our work.” What’s it like to work with such a legend?

She’s a sweetheart. She’s so kind. Everyone always says how sweet and kind she is. But she is always up; she’s a hard worker. Everyone always says to me when they ask me questions about Smash, “What’s it like working with Angelica Huston?” People always think of Angelica as Hollywood royalty because she’s had such a long history and has been such a classy woman her entire life. We are lucky to have her on the show.

When you were doing the shoot for 7Hollywood here at Smashbox Studios, did you feel you were channeling her? The wig in itself makes you feel a little different than you do in your everyday life.

Do you have anyone who inspires the way you dress, someone whose style you admire? I love Kate Moss. I really love Kate Bosworth. Nicole Richie—I really love her style. Everything she wears, I just, automatically, would personally want to wear it myself. I always think she looks really bohemian, effortless, chic. Those are really my three favorites.

Which designers are you most attracted to? I love Zac Posen. I love Kelly Wearstler; her stuff is beautiful.

Hollywood or New York? I’ll always be a California girl because that’s where I’m from. I’ll probably always be a Hollywood person because that’s where I was born. For right now, I’m loving everything New York. We’ll see how long I’m here. It could be a while.

hair PETER SAVIC/SOLO ARTISTS makeup KATHY JEUNG/THE MAGNET AGENCY manicurist EMI KUDO/OPUS BEAUTY fashion assistants ADRINA MOVSESIAN, KRISTIAN VILLALOVOS, JORDAN GROSSMAN retouching PIXEL PUSHERS shot at SMASHBOX STUDIOS capture by SMASHBOX DIGITAL special thanks to ANJELICA HUSTON, INA TRECIOKAS, CHARLENE YOUNG, NICHOLAS COKAS, LESLIE SLOANE

“People always think of Angelica as Hollywood royalty because she’s had such a long history and has been such a classy woman her entire life.”

CATHERINE MALANDRINO

dress, GLYNNETH B cuff

KATHARINE MCPHEE

You became famous as a singer and now have achieved success as an actress. How do you compare the two? It’s hard; they’re both such different art forms. In music, you’re solo. Everything sort of revolves around your timing of things, when you feel like finishing something and getting the music done and when you think something’s right. In film and television, it’s much more collaborative. You have people who are waiting on you. Not only are you there for a job, everyone’s there for a job. It has much more of a collective feeling. I love both, but it’s very different.

What’s been the most fun about your transition into acting? I did a really small part in an independent film, and then I went and did my first big studio film, which was The House Bunny, and I just loved being on set. Our show is so multifaceted. We get to do so many different things, each week; especially this season coming up. There’s more music, more numbers and more guest stars, so you get to see my character Karen do a lot of different things, and all the other different characters as well are put in positions and opportunities that you haven’t seen in the first season.

Do you have any plans to release another album?

Oh, yes. I’ve been working on it since before I started shooting the first season. Then in hiatus, I got a lot of work done on the record then sort of had to postpone it getting into the second season. Now that I am doing the second season, I’m settled into it, so I have to work on my record on the weekends, in my spare time.

And, hopefully, it’ll have an early release in 2013.

Bombshell, the play within the show, is based on the ultimate showgirl, Marilyn Monroe. How has she influenced your career as a multi-faceted performer?

I don’t know if she’s influenced my career.

Obviously, doing a show like this, you’re kind of forced to look into her life, and it’s been really fascinating to investigate and understand a little bit more. What was kind of fun was last season when we were doing a lot of Marilyn stuff—all the sort of ’50s-inspired little high-

26

7 HOLLYWOOD | FALL / WINTER 2012

necked, button-up blouses and little tee dresses that were coming into fashion.

How did getting involved with Smash come about? I went in, auditioned and got the part.

What goes through someone’s mind when they are about to enter a room and audition for Steven Spielberg? He wasn’t in the room. I was taped for all the producers and waited about 24 hours. It was a pretty exciting 24 hours, just knowing that Steven Spielberg was watching your acting tape was pretty fun. And then I got the call.

Are there any challenges doing a show like this?

I hear you have 16-, 18-hour days. Anjelica herself said, “Katharine is very dedicated to her craft, and works very hard. She puts in very long hours and lots of rehearsal time on Smash.” I don’t think it’s that different from any other television show. The difference is that we are an ensemble show.

Because my character and my co-star Megan Hilty’s character do a lot of the big show numbers, we are constantly going from shooting to dance rehearsal and recording sessions. So, in some ways, it feels like there is never a day to just recuperate. It’s a good problem to have.

The show has a hardcore following, with fans doing recaps on YouTube, investing themselves into the characters. Do people approach you? We have a lot of people yelling out in the middle of scenes and stuff like that when we are shooting on the streets, but other than that, it’s been really sweet fans who want to hang out and take pictures.

Karen Cartwright is bit of an innocent, positioned to be the lamb in a den of professional wolves.

Do you relate to her at all? I relate to her in a lot of ways, the passion for the business that we are all in. I think I share that excitement and passion and the idea of just being relentless until you get what you want.

You started your own charity, McPhee Outreach, pretty early on in your career, where you team up with various organizations. Being so incredibly involved with charitable causes, is there one in particular that's been motivating you lately? I work with Malaria No More. Right after hiatus, I got to go to Ghana. The charity is really more

geared towards children because children under the age of 5 are really the ones affected by it the most. What’s interesting is that malaria is such a way of life there, especially with the adults. Some of them have had malaria 5 to 10 times in their life, it’s sort of like “no big deal,” but it is a big deal for children under the age of five because their immune systems are so small and so young and fragile.

Your co-star Anjelica Huston says you two are “both actresses, working to achieve a sense of coherence and integration, balance, and harmony in our work.” What’s it like to work with such a legend?

She’s a sweetheart. She’s so kind. Everyone always says how sweet and kind she is. But she is always up; she’s a hard worker. Everyone always says to me when they ask me questions about Smash, “What’s it like working with Angelica Huston?” People always think of Angelica as Hollywood royalty because she’s had such a long history and has been such a classy woman her entire life. We are lucky to have her on the show.

When you were doing the shoot for 7Hollywood here at Smashbox Studios, did you feel you were channeling her? The wig in itself makes you feel a little different than you do in your everyday life.

Do you have anyone who inspires the way you dress, someone whose style you admire? I love Kate Moss. I really love Kate Bosworth. Nicole Richie—I really love her style. Everything she wears, I just, automatically, would personally want to wear it myself. I always think she looks really bohemian, effortless, chic. Those are really my three favorites.

Which designers are you most attracted to? I love Zac Posen. I love Kelly Wearstler; her stuff is beautiful.

Hollywood or New York? I’ll always be a California girl because that’s where I’m from. I’ll probably always be a Hollywood person because that’s where I was born. For right now, I’m loving everything New York. We’ll see how long I’m here. It could be a while.

hair PETER SAVIC/SOLO ARTISTS makeup KATHY JEUNG/THE MAGNET AGENCY manicurist EMI KUDO/OPUS BEAUTY fashion assistants ADRINA MOVSESIAN, KRISTIAN VILLALOVOS, JORDAN GROSSMAN retouching PIXEL PUSHERS shot at SMASHBOX STUDIOS capture by SMASHBOX DIGITAL special thanks to ANJELICA HUSTON, INA TRECIOKAS, CHARLENE YOUNG, NICHOLAS COKAS, LESLIE SLOANE

“People always think of Angelica as Hollywood royalty because she’s had such a long history and has been such a classy woman her entire life.”

CATHERINE MALANDRINO

dress, GLYNNETH B cuff

“We are both actresses, working to achieve a sense of coherence and integration, balance and harmony in our work.”

KATHARINE MCPHEE 28

7 HOLLYWOOD | FALL / WINTER 2012

SYREN LATEX COUTURE jacket, CATHERINE

MALANDRINO dress, GLYNNETH B ring

“We are both actresses, working to achieve a sense of coherence and integration, balance and harmony in our work.”

KATHARINE MCPHEE 28

7 HOLLYWOOD | FALL / WINTER 2012

SYREN LATEX COUTURE jacket, CATHERINE

MALANDRINO dress, GLYNNETH B ring

7 HOLLYWOOD | FALL / WINTER 2012 31

DONNA SUMMER/LIVE AND MORE (Casablanca, 1978) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

7 HOLLYWOOD | FALL / WINTER 2012 31

DONNA SUMMER/LIVE AND MORE (Casablanca, 1978) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

ICON forever

“Glamour is what I sell, it’s my stock in trade.”

MARLENE DIETRICH

MARLENE DIETRICH

during production of Destry Rides Again (1939) courtesy The Collections of the Margaret Herrick Library

ICON forever

“Glamour is what I sell, it’s my stock in trade.”

MARLENE DIETRICH

MARLENE DIETRICH

during production of Destry Rides Again (1939) courtesy The Collections of the Margaret Herrick Library

THE REAL PRINCE CHARMING CHRISTIAN LOUBOUTIN: WHO MAKES YOU LOOK BETTER, FEEL MORE POWERFUL AND HELPS YOU TOWER OVER THE COMPETITION? LIVING MANY A GIRL’S FANTASY, SUPERMODEL ANNE V. PLAYS PRINCESS TO HIS ENCHANTED COBBLER IN THIS 21ST CENTURY HOMAGE TO CINDERELLA. SERIOUSLY, WHO NEEDS A GLASS SLIPPER WHEN YOU’VE GOT A PAIR OF GLOSSY, RED, STUDDED PIGALLES? PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI BY ROBERT BARR

34

7 HOLLYWOOD | FALL / WINTER 2012

THE REAL PRINCE CHARMING CHRISTIAN LOUBOUTIN: WHO MAKES YOU LOOK BETTER, FEEL MORE POWERFUL AND HELPS YOU TOWER OVER THE COMPETITION? LIVING MANY A GIRL’S FANTASY, SUPERMODEL ANNE V. PLAYS PRINCESS TO HIS ENCHANTED COBBLER IN THIS 21ST CENTURY HOMAGE TO CINDERELLA. SERIOUSLY, WHO NEEDS A GLASS SLIPPER WHEN YOU’VE GOT A PAIR OF GLOSSY, RED, STUDDED PIGALLES? PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI BY ROBERT BARR

34

7 HOLLYWOOD | FALL / WINTER 2012

“Watch these Red bottoms, And the back of my jeans Watch me go, bye baby.

Watch these Red bottoms, And the back of my jeans Watch me go, bye baby.”

JENNIFER LOPEZ

CHRISTIAN LOUBOUTIN

personal shirt and jacket, “PIGALLE STRASS” stiletto (previous) Anne V. wears VIKTOR & ROLF jacket, WACOAL high-waisted panties WOLFORD stockings, CHRISTIAN LOUBOUTIN footwear. Monsieur Louboutin wears TOM FORD jacket, CHRISTIAN LOUBOUTIN personal shirt, tie and pants.

Hair Leila.A/Yumikoto Paris.

Makeup Adam de Cruz Yumikoto Paris. Manicurist Katryn Charler Stylist’s Assistants Mboko Mobutu, Tarek Bacha Makeup Artist’s Assistant Céline de Cruz Shot at Le Petit Oiseau va Sortir, Paris Special Thanks to Colette Lacoste

“The great question that has never been answered, and which I have not yet been able to answer, despite my thirty years of research into the feminine soul, is ‘What does a woman want?’” — Sigmund Freud Billions of men have spent millennia asking themselves the question that Freud immortally posed. Few, it seems, have successfully answered it. Except Christian Louboutin. The magic of his crimson-soled shoes is undeniable. His fans, and they are legion, are prepared to go to extreme lengths to procure his vertigo-inducing, strut-generating, sex-inflaming creations. Some save months’ salaries just to own a single pair. Wealthier clients build extravagant rooms in which to gaze upon (and venerate) their Imelda Marcos–worthy collections. Other dedicated devotees wait hours in unforgiving weather for a chance to spend a few minutes grabbing everything that isn’t nailed down at his legendary New York sample sale, as though it were an episode of the trash-tastic ’80s game show Supermarket Sweep (Blake Lively is said to have purchased 40—yes, four-zero—pairs in a single visit to the sale).

A fan in Dallas, in what must have been an unconscious homage to the sensationally scandalous TV soap opera of the same name, was imprisoned for embezzling money from her employer. Why did she need the extra cash so badly? To feed her Louboutin addiction at Neiman’s, bien sûr.

His business card was even discovered in the handbag of a woman who’d stabbed a man. Talk about a femme fatale.

Who else but the Sultan of Sole could inspire the oft-married and iconically callipy-

gian Jennifer Lopez to sashay off the 6 train and coo the immortal lyrics, “Watch these Red bottoms, And the back of my jeans.

Watch me go, bye baby”? Perhaps Ms. Lopez’s view—or rearview, that is—is a good place to start when exploring the inimitable enchantment of Louboutin Something happens the moment a woman slips on a pair of “red bottoms.” Her posture changes; the legs lengthen to Auermann-esque proportions; the calves curve as though Niemeyer himself designed them; and the derrière pops like on an African fertility sculpture.

With the simple act of putting on a pair of shoes, an indisputably erotic moment in itself, a flat-footed female is transformed into an überfrau, ready to take on the world, 120 millimeters taller than she was seconds earlier.

While some old-guard feminists decry Louboutins as a modern form of foot binding, one could think of him—with an ever-so-slight shift of perspective—as a feminist hero, née icon. For centuries in the Occident, we’ve brought up little girls (and boys) on fairy tales where passive ladies spend their days idling around drafty castles, dealing with impolite in-laws and praying through the long, dark night for white knights on white steeds to sweep them up and take them off to a better life.

Snow White, Sleeping Beauty and Cinderella. Think how much better things might have turned out had a certain Lady Diana Spencer been able to pop on a pair of rougesoled wonders and walk away from a certain Prince who turned out to be less than charming.

In Charles Perrault’s 1697 version of Sleeping Beauty, the Princess awakens from a

slumber Ambien would be proud of with the words, “Are you my prince? You’ve kept me waiting a long time.” That’s the thing about a Louboutin: A lady needn’t spend her day waiting for her Prince to come. He’s already there, waiting to satisfy you, in 35 stores in 16 countries around the world (and don’t forget online). There’s something empowering and thoroughly modern about a woman spending her own money on something just for her. Who needs Prince Charming when you’ve got American Express? (Don’t get us wrong, there’s still something rather fabulous about a gentleman presenting one of Louboutin’s brown kraft paper boxes as an offering to a lady’s feminine mystique).

Perhaps that’s why Disney chose none other than Monsieur Christian, the fabricant of footwear fairy tales, to create his version of a contemporary Cinderella slipper to celebrate the release of the Cinderella Diamond Edition on Blu-ray disc this autumn. Adding a touch of cinematic zest to the collaboration, Disney created a short film about the shoe’s creation, in which deadline-distressed Louboutin is trying to finish Cindy’s signature shoe.

Since this is Disney, affable animals appear bearing inspiration. His new muse? A present-day, hardworking Cinderella, dreaming of her better life. Geppetto better watch his back.

In the 21st century, it’s the Prince—in this case Christian Louboutin—waiting for an army of Princesses on bended knee, ready to guide her foot into exactly the glass (or patent leather, snakeskin, fur…) slipper of her choosing. Now that’s what I call progress.

7 HOLLYWOOD | FALL / WINTER 2012

37

“Watch these Red bottoms, And the back of my jeans Watch me go, bye baby.

Watch these Red bottoms, And the back of my jeans Watch me go, bye baby.”

JENNIFER LOPEZ

CHRISTIAN LOUBOUTIN

personal shirt and jacket, “PIGALLE STRASS” stiletto (previous) Anne V. wears VIKTOR & ROLF jacket, WACOAL high-waisted panties WOLFORD stockings, CHRISTIAN LOUBOUTIN footwear. Monsieur Louboutin wears TOM FORD jacket, CHRISTIAN LOUBOUTIN personal shirt, tie and pants.

Hair Leila.A/Yumikoto Paris.

Makeup Adam de Cruz Yumikoto Paris. Manicurist Katryn Charler Stylist’s Assistants Mboko Mobutu, Tarek Bacha Makeup Artist’s Assistant Céline de Cruz Shot at Le Petit Oiseau va Sortir, Paris Special Thanks to Colette Lacoste

“The great question that has never been answered, and which I have not yet been able to answer, despite my thirty years of research into the feminine soul, is ‘What does a woman want?’” — Sigmund Freud Billions of men have spent millennia asking themselves the question that Freud immortally posed. Few, it seems, have successfully answered it. Except Christian Louboutin. The magic of his crimson-soled shoes is undeniable. His fans, and they are legion, are prepared to go to extreme lengths to procure his vertigo-inducing, strut-generating, sex-inflaming creations. Some save months’ salaries just to own a single pair. Wealthier clients build extravagant rooms in which to gaze upon (and venerate) their Imelda Marcos–worthy collections. Other dedicated devotees wait hours in unforgiving weather for a chance to spend a few minutes grabbing everything that isn’t nailed down at his legendary New York sample sale, as though it were an episode of the trash-tastic ’80s game show Supermarket Sweep (Blake Lively is said to have purchased 40—yes, four-zero—pairs in a single visit to the sale).

A fan in Dallas, in what must have been an unconscious homage to the sensationally scandalous TV soap opera of the same name, was imprisoned for embezzling money from her employer. Why did she need the extra cash so badly? To feed her Louboutin addiction at Neiman’s, bien sûr.

His business card was even discovered in the handbag of a woman who’d stabbed a man. Talk about a femme fatale.

Who else but the Sultan of Sole could inspire the oft-married and iconically callipy-

gian Jennifer Lopez to sashay off the 6 train and coo the immortal lyrics, “Watch these Red bottoms, And the back of my jeans.

Watch me go, bye baby”? Perhaps Ms. Lopez’s view—or rearview, that is—is a good place to start when exploring the inimitable enchantment of Louboutin Something happens the moment a woman slips on a pair of “red bottoms.” Her posture changes; the legs lengthen to Auermann-esque proportions; the calves curve as though Niemeyer himself designed them; and the derrière pops like on an African fertility sculpture.

With the simple act of putting on a pair of shoes, an indisputably erotic moment in itself, a flat-footed female is transformed into an überfrau, ready to take on the world, 120 millimeters taller than she was seconds earlier.

While some old-guard feminists decry Louboutins as a modern form of foot binding, one could think of him—with an ever-so-slight shift of perspective—as a feminist hero, née icon. For centuries in the Occident, we’ve brought up little girls (and boys) on fairy tales where passive ladies spend their days idling around drafty castles, dealing with impolite in-laws and praying through the long, dark night for white knights on white steeds to sweep them up and take them off to a better life.

Snow White, Sleeping Beauty and Cinderella. Think how much better things might have turned out had a certain Lady Diana Spencer been able to pop on a pair of rougesoled wonders and walk away from a certain Prince who turned out to be less than charming.

In Charles Perrault’s 1697 version of Sleeping Beauty, the Princess awakens from a

slumber Ambien would be proud of with the words, “Are you my prince? You’ve kept me waiting a long time.” That’s the thing about a Louboutin: A lady needn’t spend her day waiting for her Prince to come. He’s already there, waiting to satisfy you, in 35 stores in 16 countries around the world (and don’t forget online). There’s something empowering and thoroughly modern about a woman spending her own money on something just for her. Who needs Prince Charming when you’ve got American Express? (Don’t get us wrong, there’s still something rather fabulous about a gentleman presenting one of Louboutin’s brown kraft paper boxes as an offering to a lady’s feminine mystique).

Perhaps that’s why Disney chose none other than Monsieur Christian, the fabricant of footwear fairy tales, to create his version of a contemporary Cinderella slipper to celebrate the release of the Cinderella Diamond Edition on Blu-ray disc this autumn. Adding a touch of cinematic zest to the collaboration, Disney created a short film about the shoe’s creation, in which deadline-distressed Louboutin is trying to finish Cindy’s signature shoe.

Since this is Disney, affable animals appear bearing inspiration. His new muse? A present-day, hardworking Cinderella, dreaming of her better life. Geppetto better watch his back.

In the 21st century, it’s the Prince—in this case Christian Louboutin—waiting for an army of Princesses on bended knee, ready to guide her foot into exactly the glass (or patent leather, snakeskin, fur…) slipper of her choosing. Now that’s what I call progress.

7 HOLLYWOOD | FALL / WINTER 2012

37

who’s next?

ISABELLE NICOLAY

Erés Lingerie / Hair Gianluca Mandelli / Makeup Sae Ryun Song

Keep your eyes on this girl: Isabelle Nicolay. She’s 50 percent American and 50 percent Française.

This 17-year-old beauty debuted exclusively on Mrs. Prada’s Spring/Summer 2013 runway (it doesn’t get much better than that). After a girl’s debuted for Miuccia, the sky’s the limit. Expect to see a lot of this fresh new face next year and beyond.

Photographer Ali Kavoussi

38

7 HOLLYWOOD | FALL / WINTER 2012

who’s next?

ISABELLE NICOLAY

Erés Lingerie / Hair Gianluca Mandelli / Makeup Sae Ryun Song

Keep your eyes on this girl: Isabelle Nicolay. She’s 50 percent American and 50 percent Française.

This 17-year-old beauty debuted exclusively on Mrs. Prada’s Spring/Summer 2013 runway (it doesn’t get much better than that). After a girl’s debuted for Miuccia, the sky’s the limit. Expect to see a lot of this fresh new face next year and beyond.

Photographer Ali Kavoussi

38

7 HOLLYWOOD | FALL / WINTER 2012

BY ROBERTA CRUGER

Cher strutting across the U.S.S. Missouri battleship in “If I Could Turn Back Time.” Tawny Kitaen lap dancing a Jaguar XF in Whitesnake’s “Here I Go Again.” Alicia Silverstone and Liv Tyler pole dancing in Aerosmith’s “Crazy.” These iconic images conjured by award-winning director Marty Callner a couple decades ago are still pop culture classics. Callner has created a massive must-see body of work, gaining an iconoclastic reputation as famous as the multitude of superstars he’s captured on film.

Callner’s impressive repertoire spans 30 decades, working in different genres and with a glittering list of luminaries from Justin Timberlake to Liza Minnelli, Britney Spears, Stevie Nicks, the Rolling Stones and Whitney Houston. With his definitive style, he set the standard for live televised music concerts, music videos and worked with a veritable who’s who in stand-up comedy: Chris Rock, Will Ferrell, Robin Williams, George Carlin and Pee Wee Herman. Through his trailblazing career, he’s collected countless kudos, including an Emmy® award, MTV’s Video of the Year award in 1984 and three nominations for the prestigious Directors Guild of America Award.

Over a dozen years, he’s made a couple hundred music videos, which all began one vivid moment when his renegade spirit was sparked in the early 1980s: “I was lying in bed watching the Z channel on television when I saw the video for Kim Carnes’s ‘Bette Davis Eyes,’ directed by Russell Mulcahy. I was flabbergasted that he could break all the rules and create this piece of entertainment that was artistic and rock ’n’ roll at the same time. So right there on the spot, I decided that’s what I wanted to do.”

Intent on pushing the envelope, Caller created a legacy as rebellious as rock ’n’ roll. His first-ever music video, the over-the-top Twisted Sister’s “We’re Not Gonna Take It,” landed at a U.S. Senate hearing on “porn rock.” His very last video, Aerosmith’s “Crazy,” got censored by MTV. It wasn’t the first time they asked for edits. Always crafting the most-requested videos, his amusing, wild and sexually themed storylines helped break bands and define the channel’s image in its heyday in the Eighties and Nineties.

40

7 HOLLYWOOD | FALL / WINTER

“I wanted to make videos sexy, not sexual,” he insists. “I wanted them to be dangerous. To show what rock ’n’ roll was all about, what the songs were about. I know how kids are.

I felt like a teenager, even though I was in my late thirties at the time. I thought I was reflecting society—what everyone was afraid of. My secret was I made great videos. And MTV needed great videos to keep viewers glued to it, so I got away with more than others. I wanted to make music videos they were dying to have.”

For more than 30 years, from the early days of HBO, Callner pioneered the filming of stage shows, making a viewer feel the spray of sweat and hear ear-piercing screams at a sprawling rock arena or enjoy the intimacy of front row center on Broadway, conveying the dynamic energy of each artist, whether bathing Diana Ross in white or transmitting AC/DC’s raw edge. Even his live concerts caused controversy, like Gladys Knight and Ray Charles at the Greek Theatre, which went until 4 a.m. and resulted in a sound ordinance.

Callner calls out rapid-fire cuts between multiple cameras at a live concert with nerves of steel. Who else could face off with Madonna and win? “Bring her on!” he told the head of HBO, who lured him into producing and ghost-directing her Australian concert. But she’d met her match. Single-handedly, his Cream Cheese Films broke barriers, established formats for music and comedy on TV. Unlike most directors who get one chance with an act, Marty does repeat business. He’s shot seven concerts with the Rolling Stones, from L’Olympia theatre in Paris to a Copacabana beach concert in Rio in front of a live audience of two million.

“The beauty of my work and the reason I’ve been successful is that I’ve had complete autonomy on every project,” notes Callner. His soft-soften voice belies his profound influence. In the 1970s, he shot sports specials such as Wimbledon, moved on to comedies, segued into music and is back with sports. Currently, he’s producing the 10th season of Hard Knocks with the NFL, a football series he created for HBO. “I’ve had a really lovely career, I cannot complain.

It’s been a crazy ride. There are stories upon stories upon stories.”

AELXANDER WANG

D&G

DIOR

GUCCI

BALENCIAGA

LANVIN

BY ROBERT BARR

CHANEL

All images courtesy PATRICE STABLE

SET THE STANDARD

Photographer JEAN BEAUMONT / ROLLING STONES XYZ Tour RST Concerts, Inc., MADONNA, “THE GIRLIE SHOW,” Warner Bros Records, Inc., 1993, DIANA ROSS, “LIVE IN LAS VEGAS,” 1978 , Downtown Entertainment Inc. and CineVu International Inc., , “IF I COULD TURN BACK TIME,” 1989, Warner Bros Records, Inc.

Marty Callner

GIVENCHY

BACK TO THE FUTURE

PRADA

What a season. From New York to Milan to Paris, the Spring 2013 runways burst with dynamism, deconstruction and drama.

The much-hyped face-off between Simons and Slimane’s debut ready-to wear collections for Dior and Saint Laurent Paris created a title card matchup as exciting to fashion followers as Ali vs. Foreman was to boxing fans decades ago.

The result? After five years out of fashion as a Los Angeles–based photographer, Hedi Slimane returned to YSL (he designed the men’s collection under the real Monsieur Saint Laurent) with a new logo, a new rock ’n’ roll image and new sense of the past-meeting-present in a collection that was equal parts Stevie Nicks at the Chateau Marmont in the Seventies as it was a nod to the maestro’s signature Talitha Getty bohemian flair. From the wide-brimmed chapeaux to the garçon-meets-girl tailoring to the vividly colored finale, Slimane delivered clothes sure to be the retail hit of Spring 2013. Simons, coming off a bravura couture debut over the summer, delivered an exquisitely proportioned and beautifully conceived collection of sensual minimalism that took the maison’s codes firmly into the 21st century, perfectly captured in his slim tanks and iridescent floral ball skirts.

Graphic modernism was overwhelmingly endorsed. Ghesquière showed a Balenciaga that married its founder's perfect sense of proportion with an undercurrent of sexy sweetness. Tisci’s Givenchy proposed romantic refinement in strict silhouettes with feminine ruffles. Gucci

juxtaposed Seventies ease with contemporary cool. In New York, Alexander Wang and Marc Jacobs demonstrated that nothing’s sharper than black and white in simple shapes with an understated dose of sex appeal. Jacobs took graphic glamour to the next level at Vuitton in a six-minute show where the girls arrived in matched pairs with a mod, Sixties feeling.

It wasn’t all about minimal modernism.

Sarah Burton showed a lavish, bee-inspired collection that took McQueen’s tough tailoring in a feminine direction. Dolce & Gabbana took a trip to Sicily in a show so marvelously Mediterranean you could practically feel the sun on your shoulders as you sat in the audience. Prada took traditional Japanese shapes—the obi, the sash, the kimono—and reconstructed them in 21st century cuts with poppy Sixties florals atop witty getas and (sure to be sold out) leather socks. Elbaz showed a mostly noir collection of deconstructed classics sure to send Lanvin loyalists rushing to the boutique.

However, the prize for most fun (and wearable) collection went to Karl Lagerfeld’s Chanel.

From the hula hoop bag that’s become the iconic item of the season to his impeccable reinterpretation of the brand’s venerable suit, Lagerfeld showed something for everyone, from a tweeting tween to a natty nonagenarian. Bravo.

7 HOLLYWOOD | FALL / WINTER 2012

41

BY ROBERTA CRUGER

Cher strutting across the U.S.S. Missouri battleship in “If I Could Turn Back Time.” Tawny Kitaen lap dancing a Jaguar XF in Whitesnake’s “Here I Go Again.” Alicia Silverstone and Liv Tyler pole dancing in Aerosmith’s “Crazy.” These iconic images conjured by award-winning director Marty Callner a couple decades ago are still pop culture classics. Callner has created a massive must-see body of work, gaining an iconoclastic reputation as famous as the multitude of superstars he’s captured on film.

Callner’s impressive repertoire spans 30 decades, working in different genres and with a glittering list of luminaries from Justin Timberlake to Liza Minnelli, Britney Spears, Stevie Nicks, the Rolling Stones and Whitney Houston. With his definitive style, he set the standard for live televised music concerts, music videos and worked with a veritable who’s who in stand-up comedy: Chris Rock, Will Ferrell, Robin Williams, George Carlin and Pee Wee Herman. Through his trailblazing career, he’s collected countless kudos, including an Emmy® award, MTV’s Video of the Year award in 1984 and three nominations for the prestigious Directors Guild of America Award.

Over a dozen years, he’s made a couple hundred music videos, which all began one vivid moment when his renegade spirit was sparked in the early 1980s: “I was lying in bed watching the Z channel on television when I saw the video for Kim Carnes’s ‘Bette Davis Eyes,’ directed by Russell Mulcahy. I was flabbergasted that he could break all the rules and create this piece of entertainment that was artistic and rock ’n’ roll at the same time. So right there on the spot, I decided that’s what I wanted to do.”

Intent on pushing the envelope, Caller created a legacy as rebellious as rock ’n’ roll. His first-ever music video, the over-the-top Twisted Sister’s “We’re Not Gonna Take It,” landed at a U.S. Senate hearing on “porn rock.” His very last video, Aerosmith’s “Crazy,” got censored by MTV. It wasn’t the first time they asked for edits. Always crafting the most-requested videos, his amusing, wild and sexually themed storylines helped break bands and define the channel’s image in its heyday in the Eighties and Nineties.

40

7 HOLLYWOOD | FALL / WINTER

“I wanted to make videos sexy, not sexual,” he insists. “I wanted them to be dangerous. To show what rock ’n’ roll was all about, what the songs were about. I know how kids are.

I felt like a teenager, even though I was in my late thirties at the time. I thought I was reflecting society—what everyone was afraid of. My secret was I made great videos. And MTV needed great videos to keep viewers glued to it, so I got away with more than others. I wanted to make music videos they were dying to have.”

For more than 30 years, from the early days of HBO, Callner pioneered the filming of stage shows, making a viewer feel the spray of sweat and hear ear-piercing screams at a sprawling rock arena or enjoy the intimacy of front row center on Broadway, conveying the dynamic energy of each artist, whether bathing Diana Ross in white or transmitting AC/DC’s raw edge. Even his live concerts caused controversy, like Gladys Knight and Ray Charles at the Greek Theatre, which went until 4 a.m. and resulted in a sound ordinance.

Callner calls out rapid-fire cuts between multiple cameras at a live concert with nerves of steel. Who else could face off with Madonna and win? “Bring her on!” he told the head of HBO, who lured him into producing and ghost-directing her Australian concert. But she’d met her match. Single-handedly, his Cream Cheese Films broke barriers, established formats for music and comedy on TV. Unlike most directors who get one chance with an act, Marty does repeat business. He’s shot seven concerts with the Rolling Stones, from L’Olympia theatre in Paris to a Copacabana beach concert in Rio in front of a live audience of two million.

“The beauty of my work and the reason I’ve been successful is that I’ve had complete autonomy on every project,” notes Callner. His soft-soften voice belies his profound influence. In the 1970s, he shot sports specials such as Wimbledon, moved on to comedies, segued into music and is back with sports. Currently, he’s producing the 10th season of Hard Knocks with the NFL, a football series he created for HBO. “I’ve had a really lovely career, I cannot complain.

It’s been a crazy ride. There are stories upon stories upon stories.”

AELXANDER WANG

D&G

DIOR

GUCCI

BALENCIAGA

LANVIN

BY ROBERT BARR

CHANEL

All images courtesy PATRICE STABLE

SET THE STANDARD

Photographer JEAN BEAUMONT / ROLLING STONES XYZ Tour RST Concerts, Inc., MADONNA, “THE GIRLIE SHOW,” Warner Bros Records, Inc., 1993, DIANA ROSS, “LIVE IN LAS VEGAS,” 1978 , Downtown Entertainment Inc. and CineVu International Inc., , “IF I COULD TURN BACK TIME,” 1989, Warner Bros Records, Inc.

Marty Callner

GIVENCHY

BACK TO THE FUTURE

PRADA

What a season. From New York to Milan to Paris, the Spring 2013 runways burst with dynamism, deconstruction and drama.

The much-hyped face-off between Simons and Slimane’s debut ready-to wear collections for Dior and Saint Laurent Paris created a title card matchup as exciting to fashion followers as Ali vs. Foreman was to boxing fans decades ago.

The result? After five years out of fashion as a Los Angeles–based photographer, Hedi Slimane returned to YSL (he designed the men’s collection under the real Monsieur Saint Laurent) with a new logo, a new rock ’n’ roll image and new sense of the past-meeting-present in a collection that was equal parts Stevie Nicks at the Chateau Marmont in the Seventies as it was a nod to the maestro’s signature Talitha Getty bohemian flair. From the wide-brimmed chapeaux to the garçon-meets-girl tailoring to the vividly colored finale, Slimane delivered clothes sure to be the retail hit of Spring 2013. Simons, coming off a bravura couture debut over the summer, delivered an exquisitely proportioned and beautifully conceived collection of sensual minimalism that took the maison’s codes firmly into the 21st century, perfectly captured in his slim tanks and iridescent floral ball skirts.

Graphic modernism was overwhelmingly endorsed. Ghesquière showed a Balenciaga that married its founder's perfect sense of proportion with an undercurrent of sexy sweetness. Tisci’s Givenchy proposed romantic refinement in strict silhouettes with feminine ruffles. Gucci

juxtaposed Seventies ease with contemporary cool. In New York, Alexander Wang and Marc Jacobs demonstrated that nothing’s sharper than black and white in simple shapes with an understated dose of sex appeal. Jacobs took graphic glamour to the next level at Vuitton in a six-minute show where the girls arrived in matched pairs with a mod, Sixties feeling.

It wasn’t all about minimal modernism.

Sarah Burton showed a lavish, bee-inspired collection that took McQueen’s tough tailoring in a feminine direction. Dolce & Gabbana took a trip to Sicily in a show so marvelously Mediterranean you could practically feel the sun on your shoulders as you sat in the audience. Prada took traditional Japanese shapes—the obi, the sash, the kimono—and reconstructed them in 21st century cuts with poppy Sixties florals atop witty getas and (sure to be sold out) leather socks. Elbaz showed a mostly noir collection of deconstructed classics sure to send Lanvin loyalists rushing to the boutique.

However, the prize for most fun (and wearable) collection went to Karl Lagerfeld’s Chanel.

From the hula hoop bag that’s become the iconic item of the season to his impeccable reinterpretation of the brand’s venerable suit, Lagerfeld showed something for everyone, from a tweeting tween to a natty nonagenarian. Bravo.

7 HOLLYWOOD | FALL / WINTER 2012

41

OFF

face

AS HE USUALLY DOES, JAY-Z SAID IT BEST: “UH, UH, AND AIN’T NOBODY FRESHER/I’M IN MAISON, UH, MARTIN MARGIELA.” THE HOUSE THAT MARTIN BUILT PROVED YET AGAIN THAT NO ONE DOES AVANT-GARDE INNOVATION BETTER WITH THE DEBUT AT PARIS COUTURE WEEK OF THEIR “ARTISANAL” COLLECTION, A 15-PIECE ASSORTMENT THAT EXPLORED ITS FOUNDER’S AESTHETIC AT FASHION’S HIGHEST LEVEL. DESPITE MR. MARGIELA’S 2009 DEPARTURE, HIS DESIGN TEAM PUSHED ALL THE HOUSE’S DESIGN SIGNATURES: MASKED WOMEN, REINVENTED VINTAGE GARMENTS AND WITTY DESIGN DETAILS (CRYSTAL DOORKNOB CLOSURES, ANYONE?).

PHOTOGRAPHER SAITOSHI ATOSHI / STYLIST ELIZABETH STEWART

MAISON MARTIN MARGIELA artisanal sleeveless

rhinestone and crystal embroidered suit jacket MAISON MARTIN MARGIELA artisanal crystallized face mask

42

7 HOLLYWOOD | FALL / WINTER

OFF

face

AS HE USUALLY DOES, JAY-Z SAID IT BEST: “UH, UH, AND AIN’T NOBODY FRESHER/I’M IN MAISON, UH, MARTIN MARGIELA.” THE HOUSE THAT MARTIN BUILT PROVED YET AGAIN THAT NO ONE DOES AVANT-GARDE INNOVATION BETTER WITH THE DEBUT AT PARIS COUTURE WEEK OF THEIR “ARTISANAL” COLLECTION, A 15-PIECE ASSORTMENT THAT EXPLORED ITS FOUNDER’S AESTHETIC AT FASHION’S HIGHEST LEVEL. DESPITE MR. MARGIELA’S 2009 DEPARTURE, HIS DESIGN TEAM PUSHED ALL THE HOUSE’S DESIGN SIGNATURES: MASKED WOMEN, REINVENTED VINTAGE GARMENTS AND WITTY DESIGN DETAILS (CRYSTAL DOORKNOB CLOSURES, ANYONE?).

PHOTOGRAPHER SAITOSHI ATOSHI / STYLIST ELIZABETH STEWART

MAISON MARTIN MARGIELA artisanal sleeveless

rhinestone and crystal embroidered suit jacket MAISON MARTIN MARGIELA artisanal crystallized face mask

42

7 HOLLYWOOD | FALL / WINTER

MAISON MARTIN MARGIELA

artisanal evening dress, artisanal crystallized face mask. (opposite page) MAISON MARTIN MARGIELA artisanal evening ensemble, artisanal crystallized face mask. (this page)

44

7 HOLLYWOOD | FALL / WINTER 2012

MAISON MARTIN MARGIELA

artisanal evening dress, artisanal crystallized face mask. (opposite page) MAISON MARTIN MARGIELA artisanal evening ensemble, artisanal crystallized face mask. (this page)

44

7 HOLLYWOOD | FALL / WINTER 2012

MAISON MARTIN MARGIELA

artisanal strapless dress, and crystallized face mask. (opposite page) MAISON MARTIN MARGIELA artisanal evening dress, and crystallized face mask. (this page) hair PETER SAVIC/SOLO ARTISTS. manicurist LISA JACHNO/AIM ARTISTS. special thanks LOIC MASI PARIS FASHION EDITOR, EDOUARD SCHNEIDER, Maison Martin Margiela. shot at SMASHBOX STUDIOS. capture by SMASHBOX DIGITAL,

46

7 HOLLYWOOD | FALL / WINTER 2012

MAISON MARTIN MARGIELA

artisanal strapless dress, and crystallized face mask. (opposite page) MAISON MARTIN MARGIELA artisanal evening dress, and crystallized face mask. (this page) hair PETER SAVIC/SOLO ARTISTS. manicurist LISA JACHNO/AIM ARTISTS. special thanks LOIC MASI PARIS FASHION EDITOR, EDOUARD SCHNEIDER, Maison Martin Margiela. shot at SMASHBOX STUDIOS. capture by SMASHBOX DIGITAL,

46

7 HOLLYWOOD | FALL / WINTER 2012

7 HOLLYWOOD | FALL / WINTER 2012 49

DOLLY PARTON / “OLD FLAMES CAN’T HOLD A CANDLE TO YOU” (RCA, 1980) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

7 HOLLYWOOD | FALL / WINTER 2012 49

DOLLY PARTON / “OLD FLAMES CAN’T HOLD A CANDLE TO YOU” (RCA, 1980) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

GLAMAZON (2005), photographed by MERT ALAS AND MARCUS PIGGOTT, (opposite page) MAGICAL THINKING (2012), photographed by TIM WALKER, from W: THE FIRST 40 YEARS (ABRAMS, 2012).

ICON review

W magazine:

THE FIRST 40 YEARS REVIEW

BY JAKE SAVAGE

From the very first issue way back in 1972, W has made sure that it has stood apart from all other fashion publications on the market. Known for its oversized frame, high concept and cutting-edge photography, it’s equal parts art book and fashion guide, a place where both the models and the clothing they wear seem to exist on a plane that has more in common with a David Lynch film than reality.

Four fabulous decades later, publisher Condé Naste is releasing W: The First 40 Years, a volume that stands as the definitive collection of some of W ’s most memorable moments. The magazine, which is often no stranger to controversy, has had some truly iconic moments—

and almost all are represented here, with features on Brad Pitt, Beyoncé, Alexander McQueen, Karl Lagerfeld and even the Beckhams. The book itself is divided into three sections: Who, Where and Wow, with each showcasing the visual style and groundbreaking exposes that have made W such a powerhouse in the fashion world.

With over 300 pages of incredible photography, newly commissioned essays from writers Vince Aletti, Lynn Hirshberg and Marian McEvoy and a foreword from editor Stefano Tonchi, W: The First 40 Years promises to provide an insight into some of fashion’s greatest moments and biggest names.

7 HOLLYWOOD | FALL / WINTER 2012

51

GLAMAZON (2005), photographed by MERT ALAS AND MARCUS PIGGOTT, (opposite page) MAGICAL THINKING (2012), photographed by TIM WALKER, from W: THE FIRST 40 YEARS (ABRAMS, 2012).

ICON review

W magazine:

THE FIRST 40 YEARS REVIEW

BY JAKE SAVAGE

From the very first issue way back in 1972, W has made sure that it has stood apart from all other fashion publications on the market. Known for its oversized frame, high concept and cutting-edge photography, it’s equal parts art book and fashion guide, a place where both the models and the clothing they wear seem to exist on a plane that has more in common with a David Lynch film than reality.

Four fabulous decades later, publisher Condé Naste is releasing W: The First 40 Years, a volume that stands as the definitive collection of some of W ’s most memorable moments. The magazine, which is often no stranger to controversy, has had some truly iconic moments—

and almost all are represented here, with features on Brad Pitt, Beyoncé, Alexander McQueen, Karl Lagerfeld and even the Beckhams. The book itself is divided into three sections: Who, Where and Wow, with each showcasing the visual style and groundbreaking exposes that have made W such a powerhouse in the fashion world.

With over 300 pages of incredible photography, newly commissioned essays from writers Vince Aletti, Lynn Hirshberg and Marian McEvoy and a foreword from editor Stefano Tonchi, W: The First 40 Years promises to provide an insight into some of fashion’s greatest moments and biggest names.

7 HOLLYWOOD | FALL / WINTER 2012

51

afraid to lash out

NEVER

TAKE A LOOK BACK AT WHAT MADE M·A·C THE AVANT-GARDE POWERHOUSE OF INNOVATION, INSPIRATION AND INGENUITY THAT IT IS TODAY. PHOTOGRAPHER ALIX MALKA ARTWORK TRAVIS READ DAVIDSON

BY ROBERT BARR

Like so many 20th century revolutions, this one started with the perfect red—Russian Red to be exact. Now iconic, that particularly intense shade of bluish-red lipstick was developed personally for a certain Material Girl about to embark on her now legendary 1990 Blonde Ambition Tour. Needless to say, the lip (and the tour, duh) was immortalized in the documentary film Truth or Dare (In Bed With Madonna for all you Europeans). Founded six years before Madonna’s celebrated tour by Frank Toskan and Frank Angelo in Toronto, M·A·C (which stands for makeup art cosmetics) was initially created for professional makeup artists who needed products that could withstand the rigors of fashion shoots and their maquillage melting lights. Almost immediately, M·A·C proved so popular with the fashion, film and television industries that the product was sold to the general public, beginning in Canada’s The Bay department stores. The first stateside boutique opened in 1991, on Christopher Street in New York City’s West Village. A definite sign of things to come: The one and only Lady Bunny served as the receptionist.

Three years later, as world governments continued to dither with their response to the HIV/AIDS epidemic, Frank and Frank founded the M·A·C AIDS Fund. Their next unprecedented step was to develop a lipstick, VIVA GLAM, where 100 percent of the proceeds went to supporting those living with and effected by HIV/AIDS. The

52

7 HOLLYWOOD | FALL / WINTER 2012

first VIVA GLAM spokesperson charged with spreading the gospel of safer sex? RuPaul, naturally. In a campaign that remains iconic, Ru with more curves than a Coca Cola bottle, contorts her NBA-worthy dimensions to spell out the words VIVA GLAM while attired in a crimson vinyl corset and bodacious blonde wig. Following in Ru’s kinky booted footsteps? Everyone from the butch Canadian chanteuse KD Lang to Elton John to Lady Gaga to the current spokespeople, Latin heartthrob Ricky Martin and hip-hop sex bomb Nicki Minaj, a duo who helped push the product’s sales to over $250,000,000.

M·A·C continues to push the limits of creative collaboration. From a chic super-heroine Wonder Woman–themed collection to affiliations with French fashion editrix par excellence Carine Roitfeld, natty nonagenarian Iris Apfel, gossip girl Beth Ditto, avant-garde aristocrat Daphne Guinness and a dose of the ultimate depiction of pure Hollywood glamour: Marilyn Monroe. Upcoming collections inspired by such diverse influences as groundbreaking illustrator Antonio Lopez and Archie comic books. Seriously, what else could we expect from a brand with the all-encompassing and progressive All Ages, All Races, All Sexes motto?

For more artwork visit new-native.com

afraid to lash out

NEVER

TAKE A LOOK BACK AT WHAT MADE M·A·C THE AVANT-GARDE POWERHOUSE OF INNOVATION, INSPIRATION AND INGENUITY THAT IT IS TODAY. PHOTOGRAPHER ALIX MALKA ARTWORK TRAVIS READ DAVIDSON

BY ROBERT BARR

Like so many 20th century revolutions, this one started with the perfect red—Russian Red to be exact. Now iconic, that particularly intense shade of bluish-red lipstick was developed personally for a certain Material Girl about to embark on her now legendary 1990 Blonde Ambition Tour. Needless to say, the lip (and the tour, duh) was immortalized in the documentary film Truth or Dare (In Bed With Madonna for all you Europeans). Founded six years before Madonna’s celebrated tour by Frank Toskan and Frank Angelo in Toronto, M·A·C (which stands for makeup art cosmetics) was initially created for professional makeup artists who needed products that could withstand the rigors of fashion shoots and their maquillage melting lights. Almost immediately, M·A·C proved so popular with the fashion, film and television industries that the product was sold to the general public, beginning in Canada’s The Bay department stores. The first stateside boutique opened in 1991, on Christopher Street in New York City’s West Village. A definite sign of things to come: The one and only Lady Bunny served as the receptionist.

Three years later, as world governments continued to dither with their response to the HIV/AIDS epidemic, Frank and Frank founded the M·A·C AIDS Fund. Their next unprecedented step was to develop a lipstick, VIVA GLAM, where 100 percent of the proceeds went to supporting those living with and effected by HIV/AIDS. The

52

7 HOLLYWOOD | FALL / WINTER 2012

first VIVA GLAM spokesperson charged with spreading the gospel of safer sex? RuPaul, naturally. In a campaign that remains iconic, Ru with more curves than a Coca Cola bottle, contorts her NBA-worthy dimensions to spell out the words VIVA GLAM while attired in a crimson vinyl corset and bodacious blonde wig. Following in Ru’s kinky booted footsteps? Everyone from the butch Canadian chanteuse KD Lang to Elton John to Lady Gaga to the current spokespeople, Latin heartthrob Ricky Martin and hip-hop sex bomb Nicki Minaj, a duo who helped push the product’s sales to over $250,000,000.

M·A·C continues to push the limits of creative collaboration. From a chic super-heroine Wonder Woman–themed collection to affiliations with French fashion editrix par excellence Carine Roitfeld, natty nonagenarian Iris Apfel, gossip girl Beth Ditto, avant-garde aristocrat Daphne Guinness and a dose of the ultimate depiction of pure Hollywood glamour: Marilyn Monroe. Upcoming collections inspired by such diverse influences as groundbreaking illustrator Antonio Lopez and Archie comic books. Seriously, what else could we expect from a brand with the all-encompassing and progressive All Ages, All Races, All Sexes motto?

For more artwork visit new-native.com

M路A路C COSMETICS eye brows SPIKED false

eyelashes #36 LASH, UPPER LASH-LINE YELLOW LINER M路A路C PRO CHROMAGRAPHIC PENCIL in PRIMARY YELLOW lower lash-line eye shadow STEAMY and TECHNAKOHL LINER in JADE WAY black liner PENULTIMATE EYE LINER base of eye PAINT POT in RUBENESQUE and PIGMENT in MELON special thanks to JAMES GAGER

M路A路C COSMETICS eye brows SPIKED false

eyelashes #36 LASH, UPPER LASH-LINE YELLOW LINER M路A路C PRO CHROMAGRAPHIC PENCIL in PRIMARY YELLOW lower lash-line eye shadow STEAMY and TECHNAKOHL LINER in JADE WAY black liner PENULTIMATE EYE LINER base of eye PAINT POT in RUBENESQUE and PIGMENT in MELON special thanks to JAMES GAGER

young

HOLLYWOOD

FOUR NEW FACES DESTINED TO BE THE TALK OF THE TOWN. DON’T KNOW THEM YET? TRUST US, YOU WILL. PHOTOGRAPHERS JAN-WILLEM DIKKERS AND MAGDALENA MEISSNER STYLIST DEVON NUSZER

Rebecca Reid

Tracey Heggins

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7 HOLLYWOOD | FALL 2012 / WINTER 2012

ALEX PERRY dress, SYDNEY EVAN ring and necklace

Where are you from? Born in South London How old are you? My God! Is that a UFO? My first hamster was called Sooty...When/what was your big break? New Girl What are you working on at the moment? New Girl. Performing stand-up at Hollywood Improv and The Comedy Store. And working on an independent web series called Rusty and the Bird, written by John Patrick Shanley—I play the Bird part. What’s your big ambition in your particular industry? Gold medal Who/what is your biggest inspiration? The audience, when I perform stand-up. Even when the audience are little bastards, I still love them. The love I have for the audience is unconditional. What does Hollywood mean to you? Just another place to get laid... I fancy you.

RUBIN & CHAPELLE jumpsuit

WITH A UKRANIAN MOTHER AND SCOTTISH FATHER, THIS ONE-TIME MODEL IS MAKING A NAME FOR HERSELF ON THE HIT TV SHOW NEW GIRL. THIS GUITAR-STRUMMING COMEDIENNE CAN BE SEEN AT THE LAUGH FACTORY RECOUNTING WHY SHE “LOVES” LOS ANGELES.

HEARD OF A LITTLE INDIE FILM CALLED TWILIGHT? YEAH, WE THOUGHT SO. AFTER CO-STARRING WITH RAPPERTURNED-ACTOR 50 CENT IN ALL THINGS FALL APART, TRACEY PLAYED AN AMAZONIAN VAMPIRE NAMED SENNA IN THE TWILIGHT SAGA: BREAKING DAWN —PART 2.

KEEP YOUR EYES ON THIS GIRL, SHE’S GOING PLACES.

Where are you from? California How old are you? Young enough for you to ask but old enough to for me to plead the Fifth. When/what was your big break I’m still eagerly waiting. What are you working on at the moment? I’m headed to Paris to shoot Black Girl in Paris, adapted from the book by Shay Youngblood.

What’s your big ambition in your particular industry?

To be in the position, where the “best of the best” want to work with me. Who/what is your biggest inspiration? People who maintain positivity through great adversity! What does Hollywood mean to you? A vehicle.

young

HOLLYWOOD

FOUR NEW FACES DESTINED TO BE THE TALK OF THE TOWN. DON’T KNOW THEM YET? TRUST US, YOU WILL. PHOTOGRAPHERS JAN-WILLEM DIKKERS AND MAGDALENA MEISSNER STYLIST DEVON NUSZER

Rebecca Reid

Tracey Heggins

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7 HOLLYWOOD | FALL 2012 / WINTER 2012

ALEX PERRY dress, SYDNEY EVAN ring and necklace

Where are you from? Born in South London How old are you? My God! Is that a UFO? My first hamster was called Sooty...When/what was your big break? New Girl What are you working on at the moment? New Girl. Performing stand-up at Hollywood Improv and The Comedy Store. And working on an independent web series called Rusty and the Bird, written by John Patrick Shanley—I play the Bird part. What’s your big ambition in your particular industry? Gold medal Who/what is your biggest inspiration? The audience, when I perform stand-up. Even when the audience are little bastards, I still love them. The love I have for the audience is unconditional. What does Hollywood mean to you? Just another place to get laid... I fancy you.

RUBIN & CHAPELLE jumpsuit

WITH A UKRANIAN MOTHER AND SCOTTISH FATHER, THIS ONE-TIME MODEL IS MAKING A NAME FOR HERSELF ON THE HIT TV SHOW NEW GIRL. THIS GUITAR-STRUMMING COMEDIENNE CAN BE SEEN AT THE LAUGH FACTORY RECOUNTING WHY SHE “LOVES” LOS ANGELES.

HEARD OF A LITTLE INDIE FILM CALLED TWILIGHT? YEAH, WE THOUGHT SO. AFTER CO-STARRING WITH RAPPERTURNED-ACTOR 50 CENT IN ALL THINGS FALL APART, TRACEY PLAYED AN AMAZONIAN VAMPIRE NAMED SENNA IN THE TWILIGHT SAGA: BREAKING DAWN —PART 2.

KEEP YOUR EYES ON THIS GIRL, SHE’S GOING PLACES.

Where are you from? California How old are you? Young enough for you to ask but old enough to for me to plead the Fifth. When/what was your big break I’m still eagerly waiting. What are you working on at the moment? I’m headed to Paris to shoot Black Girl in Paris, adapted from the book by Shay Youngblood.

What’s your big ambition in your particular industry?

To be in the position, where the “best of the best” want to work with me. Who/what is your biggest inspiration? People who maintain positivity through great adversity! What does Hollywood mean to you? A vehicle.

Where are you from? London How old are you? 23 When/ what was your big break? Being cast in Shameless last June. It was my first job. What are you working on at the moment? Shameless, season 3 What’s your big ambition in your particular industry? To work till I’m 90 and always be proud of the work I’m doing. Who/what is your biggest inspiration? Kristen Scott Thomas—and my Dad What does Hollywood mean to you? I’m still trying to figure it out...

hair RICK GRADONE/ATELIER MANAGEMENT.makeup MICHELLE MUNGCAL/ATELIER MANAGEMENT. manicurist CHRISTINA AVILES/OPUS BEAUTY. stylist’s assistants AMILETH OCON, DOMINIQUE RICHARDSON. photo assistants NORA SCHNEIDER, SARAH SHOEMAKER, JAMES BRUNDAGES. shot at SMASHBOX STUDIOS. capture by SMASHBOX DIGITAL.

AFTER DEBUTING IN SHOWTIME’S SHAMELESS, THIS BRIT BEAUTY WENT ON TO PLAY CLAUDIA CRANE, A FEMALE FAERIE ON HBO’S MEGA-HIT CULT FAVORITE TRUE BLOOD. NEXT UP? A LEAD ROLE IN HOLY GHOST PEOPLE, A SPINE-TINGLING THRILLER ABOUT THE MYSTERIOUS WORLD OF SNAKE-HANDLING CHURCHES IN APPALACHIA.

(opposite) JOHANNA JOHNSON dress, POMELLATO necklace, JOHANNA JOHNSON dress, H. STERN necklace

Emma Greenwell

Mackenzie Davis SET TO BREAK THROUGH IN THE F WORD, A ROMANTIC COMEDY STARRING HARRY POTTER’S DANIEL RADCLIFFE, THIS CANUCK CUTIE IS CERTAIN TO BE HOLLYWOOD’S LATEST BLONDE BOMBSHELL.

Where are you from? Canada How old are you? 25 When/ what was your big break? Last summer, Drake Doremus cast me as Amy Ryan and Guy Pearce’s daughter in his next film. I had just graduated from school two months earlier and was trolling the pages of Backstage everyday looking for any work I could find, so it was pretty unexpected to suddenly have this dream role as my first job. What are you working on at the moment?

I’m just about to go to Toronto to film a role in The F Word with Daniel Radcliff and Zoe Kazan, and after that I’m heading to Barcelona to shoot Grand Piano with John Cusack and Eiijah Wood. What’s your big ambition in your particular industry? To make films with my friends. Who/what is your biggest inspiration? David Lynch. What does Hollywood mean to you? Social anxiety...

7 HOLLYWOOD FALL| 2012 FALL |/ WINTER 7HOLLYWOOD 2012

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Where are you from? London How old are you? 23 When/ what was your big break? Being cast in Shameless last June. It was my first job. What are you working on at the moment? Shameless, season 3 What’s your big ambition in your particular industry? To work till I’m 90 and always be proud of the work I’m doing. Who/what is your biggest inspiration? Kristen Scott Thomas—and my Dad What does Hollywood mean to you? I’m still trying to figure it out...

hair RICK GRADONE/ATELIER MANAGEMENT.makeup MICHELLE MUNGCAL/ATELIER MANAGEMENT. manicurist CHRISTINA AVILES/OPUS BEAUTY. stylist’s assistants AMILETH OCON, DOMINIQUE RICHARDSON. photo assistants NORA SCHNEIDER, SARAH SHOEMAKER, JAMES BRUNDAGES. shot at SMASHBOX STUDIOS. capture by SMASHBOX DIGITAL.

AFTER DEBUTING IN SHOWTIME’S SHAMELESS, THIS BRIT BEAUTY WENT ON TO PLAY CLAUDIA CRANE, A FEMALE FAERIE ON HBO’S MEGA-HIT CULT FAVORITE TRUE BLOOD. NEXT UP? A LEAD ROLE IN HOLY GHOST PEOPLE, A SPINE-TINGLING THRILLER ABOUT THE MYSTERIOUS WORLD OF SNAKE-HANDLING CHURCHES IN APPALACHIA.

(opposite) JOHANNA JOHNSON dress, POMELLATO necklace, JOHANNA JOHNSON dress, H. STERN necklace

Emma Greenwell

Mackenzie Davis SET TO BREAK THROUGH IN THE F WORD, A ROMANTIC COMEDY STARRING HARRY POTTER’S DANIEL RADCLIFFE, THIS CANUCK CUTIE IS CERTAIN TO BE HOLLYWOOD’S LATEST BLONDE BOMBSHELL.

Where are you from? Canada How old are you? 25 When/ what was your big break? Last summer, Drake Doremus cast me as Amy Ryan and Guy Pearce’s daughter in his next film. I had just graduated from school two months earlier and was trolling the pages of Backstage everyday looking for any work I could find, so it was pretty unexpected to suddenly have this dream role as my first job. What are you working on at the moment?

I’m just about to go to Toronto to film a role in The F Word with Daniel Radcliff and Zoe Kazan, and after that I’m heading to Barcelona to shoot Grand Piano with John Cusack and Eiijah Wood. What’s your big ambition in your particular industry? To make films with my friends. Who/what is your biggest inspiration? David Lynch. What does Hollywood mean to you? Social anxiety...

7 HOLLYWOOD FALL| 2012 FALL |/ WINTER 7HOLLYWOOD 2012

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Vogue:

ICON review

THE EDITOR’S EYE REVIEW

Vogue: The Editor’s Eye is not just about how the magazine has continued to influence styles and trends in both American and the rest of the world, it’s also a rare glimpse into the decision-making process that goes into each and every issue, and is a testament to the immense talent and vision fashion editors possess. Over the course of 400 pages, eight of Vogue’s most important editors, including such fashion luminaries as Grace Coddington, Tonne Goodman, Camilla Nickerson, Polly Mellen and Anna Wintour, are profiled, telling in their own words their contributions to both the magazine and the trends that are still being copied to this day. “The people who are responsible for the fashion images are the fashion editors,” says Wintour. “They have always been our secret weapon, so it seemed to me that we could celebrate Vogue and also, at

PUBLISHED BY TASCHEN, BY JAKE SAVAGE

photo: PETER LINDBERGH (SEPTEMBER 1991), from VOGUE: THE EDITOR’S EYE (ABRAMS, 2012)

It’s been over a century since Vogue was founded, and in that time it has grown from a small, bimonthly fashion magazine into the de facto style bible for America and the 18 other countries in which it is published. Vogue was the pioneer that brought fashion to the people, taking the best from the runways of Paris and Milan and distilling it into something consumable for the masses. Now, in honor of Vogue’s 120th anniversary, Abrams and Condé Nast have released the definitive guide to the magazine’s storied history.

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7 HOLLYWOOD | FALL / WINTER 2012

the same time, celebrate these great editors.”

Timeless photography from Annie Leibovitz and Richard Avedon as well as interviews from contributing writers Judtih Thurman, Vince Aletti and Michael Roberts help round out this impressive collection of material from the unimaginably vast Vogue archives and provide additional insight into the behind-the-scenes machinations of the world’s most powerful fashion magazine. Coming to bookstores everywhere in October, Vogue: The Editor’s Eye is an absolute must-have with its over 300 color and black and white photographs, not to mention a forward from la Wintour herself. Adding to the fashion bonanza is the HBO documentary In Vogue: The Editor’s Eye, premiering on December 6th.

Talk about must-see TV.

Vogue:

ICON review

THE EDITOR’S EYE REVIEW

Vogue: The Editor’s Eye is not just about how the magazine has continued to influence styles and trends in both American and the rest of the world, it’s also a rare glimpse into the decision-making process that goes into each and every issue, and is a testament to the immense talent and vision fashion editors possess. Over the course of 400 pages, eight of Vogue’s most important editors, including such fashion luminaries as Grace Coddington, Tonne Goodman, Camilla Nickerson, Polly Mellen and Anna Wintour, are profiled, telling in their own words their contributions to both the magazine and the trends that are still being copied to this day. “The people who are responsible for the fashion images are the fashion editors,” says Wintour. “They have always been our secret weapon, so it seemed to me that we could celebrate Vogue and also, at

PUBLISHED BY TASCHEN, BY JAKE SAVAGE

photo: PETER LINDBERGH (SEPTEMBER 1991), from VOGUE: THE EDITOR’S EYE (ABRAMS, 2012)

It’s been over a century since Vogue was founded, and in that time it has grown from a small, bimonthly fashion magazine into the de facto style bible for America and the 18 other countries in which it is published. Vogue was the pioneer that brought fashion to the people, taking the best from the runways of Paris and Milan and distilling it into something consumable for the masses. Now, in honor of Vogue’s 120th anniversary, Abrams and Condé Nast have released the definitive guide to the magazine’s storied history.

60

7 HOLLYWOOD | FALL / WINTER 2012

the same time, celebrate these great editors.”

Timeless photography from Annie Leibovitz and Richard Avedon as well as interviews from contributing writers Judtih Thurman, Vince Aletti and Michael Roberts help round out this impressive collection of material from the unimaginably vast Vogue archives and provide additional insight into the behind-the-scenes machinations of the world’s most powerful fashion magazine. Coming to bookstores everywhere in October, Vogue: The Editor’s Eye is an absolute must-have with its over 300 color and black and white photographs, not to mention a forward from la Wintour herself. Adding to the fashion bonanza is the HBO documentary In Vogue: The Editor’s Eye, premiering on December 6th.

Talk about must-see TV.

FALL / WINTER 2012 | 7HOLLYWOOD

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FALL / WINTER 2012 | 7HOLLYWOOD

63

ICON forever

“Alas, I am not an auteur, but damn few directors can write.

They’re very clever and they can go through the paces.

As a director, you’ve got to think of your own limitations. There are certain things you’re sympathetic with, and there are certain things you say to yourself. ‘Well, I can do it because I’m perfectly competent, but there’s so many people who can do it much better than I can.’

I’ve been sent a script I think is charming and I said, ‘I think you ought to get an Italian director; it’s madness to ask me to do it.’”

GEORGE CUKOR

GEORGE CUKOR and AUDREY HEPBURN

on set of My Fair Lady (1964) Courtesy the Collections of the Margaret Herrick Library.

ICON forever

“Alas, I am not an auteur, but damn few directors can write.

They’re very clever and they can go through the paces.

As a director, you’ve got to think of your own limitations. There are certain things you’re sympathetic with, and there are certain things you say to yourself. ‘Well, I can do it because I’m perfectly competent, but there’s so many people who can do it much better than I can.’

I’ve been sent a script I think is charming and I said, ‘I think you ought to get an Italian director; it’s madness to ask me to do it.’”

GEORGE CUKOR

GEORGE CUKOR and AUDREY HEPBURN

on set of My Fair Lady (1964) Courtesy the Collections of the Margaret Herrick Library.

2013

OSCARS

WITH AWARDS SEASON FAST APPROACHING, WE TAKE A LOOK AT THIS YEAR’S CROP OF OSCAR®-WORTHY DIRECTORS AND SEPARATE THE CONTENDERS FROM THE PRETENDERS. BY JAKE SAVAGE

QUENTIN TARANTINO Love him or hate him, there’s no denying that Tarantino’s work is fascinating to watch. Films like Pulp Fiction and Death Proof retain that grimy, 1970s feel of a low-budget B movie, and his penchant for pulling former big-name actors off the scrap heap for one more star turn help lend to that vibe. Django Unchained, his 2012 offering, chronicles a slave-turned-bounty hunter on his bloody quest to rescue his wife from a vicious plantation owner. It’s a storyline straight out of the Blaxploitation era and it’s certainly a gamble. Look for Tarantino to get the nomination, but go home empty-handed.

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7 HOLLYWOOD | FALL 2012

6COMPANY, ang lee `Photo JAKE NETTER/© 2012 COURTESY TWENTIETWH CENTURY FOX FILM CORPORATION

Ridley Scott

Whether it’s terrifying audiences with the genre-defying sci-fi classic Alien, bucking the status quo with girl-power anthems Thelma & Louise and G.I. Jane or showing the seedy underbelly of the American Dream in American Gangster, Ridley Scott has made a career out of taking big-budget chances. Now he returns with Prometheus, a pseudo-prequel to Alien that had audiences and critics buzzing from the get-go, with a massive viral ad campaign and cryptic trailers that had fans all over the world dissecting each frame for clues about the film’s mysterious plot. His Oscar chances? Good. With three prior nominations, Scott is no stranger to the Academy. The epic scale and impressive visual style of Prometheus make it a strong contender for both Best Picture and Best Director.

Wes Anderson

This year’s dark horse (and resident hipster messiah), Wes Anderson looks to be a long shot to win this year’s Best Director award.

Best known for the slacker hymn Rushmore and his ode to dysfunctional families everywhere, The Royal Tennenbaums, Anderson has long been considered too quirky for the mainstream. But while those who aren’t already fans may have written Anderson off, he has quietly put together his best film yet in this year’s Moonrise Kingdom.

Brilliant performances from Anderson newcomers Bruce Willis and Ed Norton help propel this movie into the “must-see category.” Is it Oscar worthy? No. But should he be nominated? Absolutely.

Paul Thomas Anderson

After exploding onto the scene with 1997’s cumming-of-age tale Boogie Nights, Anderson has shown no signs of slowing down. Despite only directing five major films in the last 15 years, he has still managed to garner five Oscar nods, and his latest release, The Master, looks to continue that trend. Featuring masterful performances by Joaquin Phoenix as an emotionally disturbed war vet and Philip Seymour Hoffman as the man with all the answers, Anderson’s stark look at Scientology has been praised by critics and raised more than a few eyebrows. He has a great chance of standing at the podium come Oscar time.

Kathryn Bigelow

The 2010 Oscar champ and former James Cameron spouse has had a career that seemingly bubbled up out of nowhere. Bigelow proved to be the darling of the Academy Awards in 2010 (and patron saint of jilted ex-wives everywhere) when she beat out Cameron’s bazillion dollar Avatar for both Best Picture and Best Director.

Her latest, Zero Dark Thirty, is about the hunt and subsequent assassination of one Osama Bin Laden. Armed with that story and unprecedented access to classified mission files, it’s no top secret that this film could be on its way to capturing an Oscar.

Steven Spielberg

As someone with over 10 Academy Award® nominations and three gold statues, it’s no surprise that Spielberg once again finds himself in

the midst of the Oscar buzz. Having spent the last four decades crafting iconic films ranging from Jaws to Indiana Jones to Jurassic Park, the creator of the blockbuster tosses his fedora into the ring with Lincoln. The film, which features Daniel Day-Lewis in the titular role, is sure to be a huge success—and with Spielberg’s track record at the Oscars, he could be the man to beat.

Ang Lee

The Taiwanese-born Lee has always been somewhat of an oddity in Hollywood. Known for slow-burning, visually beautiful films in an industry that seems obsessed with Louder, Faster, Bigger, Lee has thankfully, remained stuck in his ways. Based on a bestselling book of the same name, Life of Pi promises to offer audiences the same gorgeous direction and story complexity of his earlier works. It’s a strong year for directors, but if Life of Pi delivers on the hype, expect Lee to be a top-three contender for an Oscar.

Christopher Nolan

Nolanites (as his fanatics affectionately call themselves) could dream up a thousand reasons why he should win Best Director each and every year.

True, Nolan has been behind some truly great films (the surreal action-thriller Inception and the bizarre movie-in-reverse Memento come to mind), but The Dark Knight Rises is not one of them. Filled with plot holes, leaps in logic and a villain with a speech impediment, there’s just not enough here this year to warrant a gold statue. However, his pedigree as one of Hollywood’s big-time directors may be enough to get a nomination.

7 HOLLYWOOD | FALL / WINTER 2012

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2013

OSCARS

WITH AWARDS SEASON FAST APPROACHING, WE TAKE A LOOK AT THIS YEAR’S CROP OF OSCAR®-WORTHY DIRECTORS AND SEPARATE THE CONTENDERS FROM THE PRETENDERS. BY JAKE SAVAGE

QUENTIN TARANTINO Love him or hate him, there’s no denying that Tarantino’s work is fascinating to watch. Films like Pulp Fiction and Death Proof retain that grimy, 1970s feel of a low-budget B movie, and his penchant for pulling former big-name actors off the scrap heap for one more star turn help lend to that vibe. Django Unchained, his 2012 offering, chronicles a slave-turned-bounty hunter on his bloody quest to rescue his wife from a vicious plantation owner. It’s a storyline straight out of the Blaxploitation era and it’s certainly a gamble. Look for Tarantino to get the nomination, but go home empty-handed.

66

7 HOLLYWOOD | FALL 2012

6COMPANY, ang lee `Photo JAKE NETTER/© 2012 COURTESY TWENTIETWH CENTURY FOX FILM CORPORATION

Ridley Scott

Whether it’s terrifying audiences with the genre-defying sci-fi classic Alien, bucking the status quo with girl-power anthems Thelma & Louise and G.I. Jane or showing the seedy underbelly of the American Dream in American Gangster, Ridley Scott has made a career out of taking big-budget chances. Now he returns with Prometheus, a pseudo-prequel to Alien that had audiences and critics buzzing from the get-go, with a massive viral ad campaign and cryptic trailers that had fans all over the world dissecting each frame for clues about the film’s mysterious plot. His Oscar chances? Good. With three prior nominations, Scott is no stranger to the Academy. The epic scale and impressive visual style of Prometheus make it a strong contender for both Best Picture and Best Director.

Wes Anderson

This year’s dark horse (and resident hipster messiah), Wes Anderson looks to be a long shot to win this year’s Best Director award.

Best known for the slacker hymn Rushmore and his ode to dysfunctional families everywhere, The Royal Tennenbaums, Anderson has long been considered too quirky for the mainstream. But while those who aren’t already fans may have written Anderson off, he has quietly put together his best film yet in this year’s Moonrise Kingdom.

Brilliant performances from Anderson newcomers Bruce Willis and Ed Norton help propel this movie into the “must-see category.” Is it Oscar worthy? No. But should he be nominated? Absolutely.

Paul Thomas Anderson

After exploding onto the scene with 1997’s cumming-of-age tale Boogie Nights, Anderson has shown no signs of slowing down. Despite only directing five major films in the last 15 years, he has still managed to garner five Oscar nods, and his latest release, The Master, looks to continue that trend. Featuring masterful performances by Joaquin Phoenix as an emotionally disturbed war vet and Philip Seymour Hoffman as the man with all the answers, Anderson’s stark look at Scientology has been praised by critics and raised more than a few eyebrows. He has a great chance of standing at the podium come Oscar time.

Kathryn Bigelow

The 2010 Oscar champ and former James Cameron spouse has had a career that seemingly bubbled up out of nowhere. Bigelow proved to be the darling of the Academy Awards in 2010 (and patron saint of jilted ex-wives everywhere) when she beat out Cameron’s bazillion dollar Avatar for both Best Picture and Best Director.

Her latest, Zero Dark Thirty, is about the hunt and subsequent assassination of one Osama Bin Laden. Armed with that story and unprecedented access to classified mission files, it’s no top secret that this film could be on its way to capturing an Oscar.

Steven Spielberg

As someone with over 10 Academy Award® nominations and three gold statues, it’s no surprise that Spielberg once again finds himself in

the midst of the Oscar buzz. Having spent the last four decades crafting iconic films ranging from Jaws to Indiana Jones to Jurassic Park, the creator of the blockbuster tosses his fedora into the ring with Lincoln. The film, which features Daniel Day-Lewis in the titular role, is sure to be a huge success—and with Spielberg’s track record at the Oscars, he could be the man to beat.

Ang Lee

The Taiwanese-born Lee has always been somewhat of an oddity in Hollywood. Known for slow-burning, visually beautiful films in an industry that seems obsessed with Louder, Faster, Bigger, Lee has thankfully, remained stuck in his ways. Based on a bestselling book of the same name, Life of Pi promises to offer audiences the same gorgeous direction and story complexity of his earlier works. It’s a strong year for directors, but if Life of Pi delivers on the hype, expect Lee to be a top-three contender for an Oscar.

Christopher Nolan

Nolanites (as his fanatics affectionately call themselves) could dream up a thousand reasons why he should win Best Director each and every year.

True, Nolan has been behind some truly great films (the surreal action-thriller Inception and the bizarre movie-in-reverse Memento come to mind), but The Dark Knight Rises is not one of them. Filled with plot holes, leaps in logic and a villain with a speech impediment, there’s just not enough here this year to warrant a gold statue. However, his pedigree as one of Hollywood’s big-time directors may be enough to get a nomination.

7 HOLLYWOOD | FALL / WINTER 2012

67

It begins with the immortal words: “All happy families are alike; each unhappy family is unhappy in its own way.” Calling it a classic is an understatement. Greta Garbo, Vivien Leigh and Sophie Marceau have immortalized her on the big screen (in fact, Garbo played her twice). Ingrid Bergman played her on the radio. Along with Scarlett, Juliet and Blanche, Anna Karenina is one of the roles any great actress yearns to interpret. It’s considered one of the greatest novels ever written, praised by no less a trio than Dostoevsky, Nabokov and Faulkner. Even Oprah, who called it “one of the greatest love stories of our time,”—ignoring the story’s relentless focus on unhappy marriage, infidelity and, of course, suicide—chose the then 127-yearold novel for her wildly popular Book Club.

Today, Russian literature’s great aristo-romantic tragedy is back, and it’s directed

by Joe Wright, the man behind Pride & Prejudice (which won Wright the BAFTA for most promising newcomer), Atonement, The Soloist and the ultra-stylish (and highly underappreciated) Hanna. Teaming for the third time with Keira Knightley in the titular role of the enchanting, refined and ultimately damned heroine, Wright, with a script by Academy Award winner Sir Tom Stoppard (not to mention performances from Jude Law and Aaron Taylor-Johnson as Anna’s two lovers), adapts Tolstoy’s epic masterpiece in a sumptuous swirl of exquisite costumes, lavish sets and a sensuous score. Shot almost exclusively on a single soundstage at London’s Shepperton Studios, Wright transports us to fin de siècle czarist Russia in what’s sure to be one of the awards season’s most nominated films.

A couple of years ago at the Hay Festival of Literature & the Arts in the U.K., Wright told an audience, “Basically, I just like showing off.” Well, we like to watch. (Robert Barr)

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7 HOLLYWOOD | FALL / WINTER 2012

JOE WRIGHT director, ANNA KARENINA CERTAIN TO BE NOMINATED FOR MULTIPLE ACADEMY AWARDS COME 2013, TOLSTOY’S ARCHETYPAL TRAGEDY GETS A SUPERSTAR RETELLING IN THE HANDS OF BRITISH DIRECTOR JOE WRIGHT. PHOTOGRAPHER WAYNE STAMBLER

It begins with the immortal words: “All happy families are alike; each unhappy family is unhappy in its own way.” Calling it a classic is an understatement. Greta Garbo, Vivien Leigh and Sophie Marceau have immortalized her on the big screen (in fact, Garbo played her twice). Ingrid Bergman played her on the radio. Along with Scarlett, Juliet and Blanche, Anna Karenina is one of the roles any great actress yearns to interpret. It’s considered one of the greatest novels ever written, praised by no less a trio than Dostoevsky, Nabokov and Faulkner. Even Oprah, who called it “one of the greatest love stories of our time,”—ignoring the story’s relentless focus on unhappy marriage, infidelity and, of course, suicide—chose the then 127-yearold novel for her wildly popular Book Club.

Today, Russian literature’s great aristo-romantic tragedy is back, and it’s directed

by Joe Wright, the man behind Pride & Prejudice (which won Wright the BAFTA for most promising newcomer), Atonement, The Soloist and the ultra-stylish (and highly underappreciated) Hanna. Teaming for the third time with Keira Knightley in the titular role of the enchanting, refined and ultimately damned heroine, Wright, with a script by Academy Award winner Sir Tom Stoppard (not to mention performances from Jude Law and Aaron Taylor-Johnson as Anna’s two lovers), adapts Tolstoy’s epic masterpiece in a sumptuous swirl of exquisite costumes, lavish sets and a sensuous score. Shot almost exclusively on a single soundstage at London’s Shepperton Studios, Wright transports us to fin de siècle czarist Russia in what’s sure to be one of the awards season’s most nominated films.

A couple of years ago at the Hay Festival of Literature & the Arts in the U.K., Wright told an audience, “Basically, I just like showing off.” Well, we like to watch. (Robert Barr)

68

7 HOLLYWOOD | FALL / WINTER 2012

JOE WRIGHT director, ANNA KARENINA CERTAIN TO BE NOMINATED FOR MULTIPLE ACADEMY AWARDS COME 2013, TOLSTOY’S ARCHETYPAL TRAGEDY GETS A SUPERSTAR RETELLING IN THE HANDS OF BRITISH DIRECTOR JOE WRIGHT. PHOTOGRAPHER WAYNE STAMBLER

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The Master is looking like a very strong contender to change all that.

Anderson’s faux biopic about L. Ron Hubbard (played by Phillip Seymour Hoffman) and the birth of Scientology have generated big-time buzz, and it’s easy to see why. The Church, most notable for it’s prominent mouthpiece Tom Cruise and blistering South Park parodies, has always been a lightning rod of controversy.

The film’s trailer gave away very little in terms of plot, instead choosing to focus on Joaquin Phoenix’s (who’s career has made a nice comeback after the bizarrely watchable I’m Still Here) World War II veteran as he appears to go through some kind of mental breakdown and seeks the guidance of Hoffman.

David O’Russell’s Silver Linings Playbook, much like PTA’s The Master, deals with mental illness and the search for inner peace. It stars the so-good-looking-ithurts Bradley Cooper as a man recently released from a mental institution who strikes up a lithium-fueled relationship with a woman (played by Jennifer Lawrence) who may be even more troubled than he is. The film has already received massive critical acclaim, and with O’Russell having been previously nominated for 2011’s The Fighter, there’s no doubt that it

stands a strong chance of winning. Hell, even Bret Easton Ellis has chimed in, calling it “the front runner for best picture next year.” Coming from a man who’s penned such classics as American Psycho and Less Than Zero, that’s high praise indeed.

Prometheus, the Ridley Scott sci-fi epic, continues the trend of films in 2012 looking for answers to Life’s Great Question.

While most others use subtle imagery and clever dialogue to get their point across, Prometheus bluntly asks: “Why?” Unfortunately, so did audiences, as former Lost scribe Damon Lindelof created a sometimes confusing script replete with dead ends, massive leaps in logic and an ending that did nothing to resolve what the previous two hours of running around in an alien catacomb set up. Needless to say, it left a lot of questions unanswered.

But is it a bad film? Far from it. There’s some true greatness here. Scott’s directing is as masterful as ever, and he once again convincingly creates a sci-fi world that’s both believably futuristic and slightly terrifying. Michael Fassbender (who might be in line for a Best Actor nod) plays the android David to such perfection that your skin crawls each time he’s on screen.

Though the film’s messages about evolu-

clockwise from above: photo by JONATHAN OLLEY, copyright © 2012 COLUMBIA PICTURES INDUSTRIES, INC. all rights reserved. photo by RHYTHM & HUES/© 2012 courtesy TWENTIETH CENTURY FOX FILM CORPORATION. photo by ANDREW COOPER, SMPSP/THE WEINSTEIN COMPANY. photo by JONATHAN OLLEY, copyright © 2012 COLUMBIA PICTURES INDUSTRIES, INC. all rights reserved. photo by KERRY BROWN/© 2011 courtesy TWENTIETH CENTURY FOX FILM CORPORATION.

Think about that for a second. The man who created Indiana Jones, who directed one of the greatest films ever in Schindler’s List and is almost always a shoo-in to at least be a top three contender each and every year is almost an afterthought!

This year’s field is so bursting with brilliant films that there will be more than a few snubs that could easily have won Best Picture.

It’s a situation not unusual for Paul Thomas Anderson. The 42-year-old director of 2007’s There Will Be Blood has made a habit of having his name in the running come Oscar time, and for good reason.

His IMDB profile reads like a cinema master class, and he has proven time and time again to be one of the few directors who can make genre-defying, thoughtful dramas that also contain such infinitely quotable dialogue as Magnolia’s “Respect the cock!” and There Will Be Blood’s “I drink your milkshake!” Anderson’s films have the rare ability to resonate with film snobs and frat boys, while giving audiences a cinematic experience they’re unlikely to have anywhere else. Still, he has yet to take home Hollywood’s biggest prize, as the Coen brothers’ No Country for Old Men narrowly edged out Blood. But 2012’s

BEST IN SHOW

WHILE THE LAST FEW ACADEMY AWARDS® HAVE HAD SOME SURPRISE WINNERS (KATHRYN BIGELOW’S HURT LOCKER UPSETTING JAMES CAMERON’S AVATAR COMES TO MIND), AND WHILE THERE HAVE BEEN SOME TRULY BRILLIANT FILMS SPRINKLED IN HERE AND THERE (THE TREE OF LIFE), THIS YEAR’S OSCARS® MIGHT HAVE THE SINGLE GREATEST COLLECTION OF TALENT EVER ASSEMBLED: ANG LEE, DAVID O’RUSSELL, PAUL THOMAS ANDERSON, RIDLEY SCOTT… EVEN STEVEN SPIELBERG, WHO’S NO STRANGER TO OSCAR NIGHT WITH SEVERAL WINS AND NOMINATIONS, IS MAKING HIS ANNUAL APPEARANCE WITH HIS LATEST, LINCOLN.

tion, purpose and creation are sometimes a little heavy-handed, it’s just so damn beautiful to look at that you’ll find yourself forgiving more than a few of its minor sins.

It’s been a long time since Ang Lee has made a serious push for Academy recognition. Brokeback Mountain, which earned him Best Director, was released in 2006, and the martial arts epic Crouching Tiger, Hidden Dragon was popular before most people owned a cell phone. But he has quietly been putting together what could be the surprise of the year. Based on the best-selling novel of the same name, Life of Pi follows the son of a zookeeper who, after surviving a shipwreck, is adrift in the Pacific with nothing but a zebra and a tiger to keep him company. The massive popularity of the book is sure to produce solid box office numbers, and Lee has shown that he can make some truly memorable films. If it were any other year, this would be a lock, but with such a strong field, it’s going to be interesting to see whether or not Life of Pi gets lost in the shuffle.

Best Picture isn’t the only category filled with some stiff competition; both Best Actor and Best Actress are packed with big-name Oscar veterans and new

faces that are sure to make both categories extremely exciting to watch. Lincoln’s Daniel Day-Lewis is widely considered to be one of the best actors of his generation, but John Hawkes (The Sessions) and mainstay Denzel Washington (Flight) are also favorites to take home a statue. Look for Hitchcock’s prosthetics-laden Sir Anthony Hopkins (in the film’s titular role) to play the part of spoiler, and Joaquin Phoenix could easily end up with his third nomination and first win.

Things aren’t quite as clear for Best Actress, where no one has stepped up and delivered a command performance that separates them from the rest pack. Former Hunger Games star Jennifer Lawrence looks to make the transition from Oscar nominee to winner after barely missing on her 2010 role in Winter’s Bone. The eternal Judi Dench, having been nominated six times and only winning once, can never be considered out of the mix. The same can be said for both Helen Mirren and Naomi Watts, who star in Hitchcock and The Impossible, respectively. Even though both of their films are currently flying under the radar, these two actresses know how to deliver the goods, and no one would be shocked to see them delivering an accep-

tance speech come awards time.

In five months, when the red carpet is rolled out and Hollywood Boulevard becomes an impossible traffic jam of black limousines and stargazing tourists, the unassuming grey and beige Dolby Theatre will be the center of the entertainment universe. Millions will watch as an envelope is gently torn open, its contents hidden to all but the one person lucky enough to utter the phrase “and the Award for Best Picture goes to…” It’s a triumphant moment for all those involved in that film’s creation; years of work validated in one explosive instant. But until that moment, we’ll have to be content guessing who the lucky winner will be.

But if you ask me, my money is on The Master.

That movie kicked ass. ( Jake Savage)

7 HOLLYWOOD | FALL / WINTER 2012

71

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The Master is looking like a very strong contender to change all that.

Anderson’s faux biopic about L. Ron Hubbard (played by Phillip Seymour Hoffman) and the birth of Scientology have generated big-time buzz, and it’s easy to see why. The Church, most notable for it’s prominent mouthpiece Tom Cruise and blistering South Park parodies, has always been a lightning rod of controversy.

The film’s trailer gave away very little in terms of plot, instead choosing to focus on Joaquin Phoenix’s (who’s career has made a nice comeback after the bizarrely watchable I’m Still Here) World War II veteran as he appears to go through some kind of mental breakdown and seeks the guidance of Hoffman.

David O’Russell’s Silver Linings Playbook, much like PTA’s The Master, deals with mental illness and the search for inner peace. It stars the so-good-looking-ithurts Bradley Cooper as a man recently released from a mental institution who strikes up a lithium-fueled relationship with a woman (played by Jennifer Lawrence) who may be even more troubled than he is. The film has already received massive critical acclaim, and with O’Russell having been previously nominated for 2011’s The Fighter, there’s no doubt that it

stands a strong chance of winning. Hell, even Bret Easton Ellis has chimed in, calling it “the front runner for best picture next year.” Coming from a man who’s penned such classics as American Psycho and Less Than Zero, that’s high praise indeed.

Prometheus, the Ridley Scott sci-fi epic, continues the trend of films in 2012 looking for answers to Life’s Great Question.

While most others use subtle imagery and clever dialogue to get their point across, Prometheus bluntly asks: “Why?” Unfortunately, so did audiences, as former Lost scribe Damon Lindelof created a sometimes confusing script replete with dead ends, massive leaps in logic and an ending that did nothing to resolve what the previous two hours of running around in an alien catacomb set up. Needless to say, it left a lot of questions unanswered.

But is it a bad film? Far from it. There’s some true greatness here. Scott’s directing is as masterful as ever, and he once again convincingly creates a sci-fi world that’s both believably futuristic and slightly terrifying. Michael Fassbender (who might be in line for a Best Actor nod) plays the android David to such perfection that your skin crawls each time he’s on screen.

Though the film’s messages about evolu-

clockwise from above: photo by JONATHAN OLLEY, copyright © 2012 COLUMBIA PICTURES INDUSTRIES, INC. all rights reserved. photo by RHYTHM & HUES/© 2012 courtesy TWENTIETH CENTURY FOX FILM CORPORATION. photo by ANDREW COOPER, SMPSP/THE WEINSTEIN COMPANY. photo by JONATHAN OLLEY, copyright © 2012 COLUMBIA PICTURES INDUSTRIES, INC. all rights reserved. photo by KERRY BROWN/© 2011 courtesy TWENTIETH CENTURY FOX FILM CORPORATION.

Think about that for a second. The man who created Indiana Jones, who directed one of the greatest films ever in Schindler’s List and is almost always a shoo-in to at least be a top three contender each and every year is almost an afterthought!

This year’s field is so bursting with brilliant films that there will be more than a few snubs that could easily have won Best Picture.

It’s a situation not unusual for Paul Thomas Anderson. The 42-year-old director of 2007’s There Will Be Blood has made a habit of having his name in the running come Oscar time, and for good reason.

His IMDB profile reads like a cinema master class, and he has proven time and time again to be one of the few directors who can make genre-defying, thoughtful dramas that also contain such infinitely quotable dialogue as Magnolia’s “Respect the cock!” and There Will Be Blood’s “I drink your milkshake!” Anderson’s films have the rare ability to resonate with film snobs and frat boys, while giving audiences a cinematic experience they’re unlikely to have anywhere else. Still, he has yet to take home Hollywood’s biggest prize, as the Coen brothers’ No Country for Old Men narrowly edged out Blood. But 2012’s

BEST IN SHOW

WHILE THE LAST FEW ACADEMY AWARDS® HAVE HAD SOME SURPRISE WINNERS (KATHRYN BIGELOW’S HURT LOCKER UPSETTING JAMES CAMERON’S AVATAR COMES TO MIND), AND WHILE THERE HAVE BEEN SOME TRULY BRILLIANT FILMS SPRINKLED IN HERE AND THERE (THE TREE OF LIFE), THIS YEAR’S OSCARS® MIGHT HAVE THE SINGLE GREATEST COLLECTION OF TALENT EVER ASSEMBLED: ANG LEE, DAVID O’RUSSELL, PAUL THOMAS ANDERSON, RIDLEY SCOTT… EVEN STEVEN SPIELBERG, WHO’S NO STRANGER TO OSCAR NIGHT WITH SEVERAL WINS AND NOMINATIONS, IS MAKING HIS ANNUAL APPEARANCE WITH HIS LATEST, LINCOLN.

tion, purpose and creation are sometimes a little heavy-handed, it’s just so damn beautiful to look at that you’ll find yourself forgiving more than a few of its minor sins.

It’s been a long time since Ang Lee has made a serious push for Academy recognition. Brokeback Mountain, which earned him Best Director, was released in 2006, and the martial arts epic Crouching Tiger, Hidden Dragon was popular before most people owned a cell phone. But he has quietly been putting together what could be the surprise of the year. Based on the best-selling novel of the same name, Life of Pi follows the son of a zookeeper who, after surviving a shipwreck, is adrift in the Pacific with nothing but a zebra and a tiger to keep him company. The massive popularity of the book is sure to produce solid box office numbers, and Lee has shown that he can make some truly memorable films. If it were any other year, this would be a lock, but with such a strong field, it’s going to be interesting to see whether or not Life of Pi gets lost in the shuffle.

Best Picture isn’t the only category filled with some stiff competition; both Best Actor and Best Actress are packed with big-name Oscar veterans and new

faces that are sure to make both categories extremely exciting to watch. Lincoln’s Daniel Day-Lewis is widely considered to be one of the best actors of his generation, but John Hawkes (The Sessions) and mainstay Denzel Washington (Flight) are also favorites to take home a statue. Look for Hitchcock’s prosthetics-laden Sir Anthony Hopkins (in the film’s titular role) to play the part of spoiler, and Joaquin Phoenix could easily end up with his third nomination and first win.

Things aren’t quite as clear for Best Actress, where no one has stepped up and delivered a command performance that separates them from the rest pack. Former Hunger Games star Jennifer Lawrence looks to make the transition from Oscar nominee to winner after barely missing on her 2010 role in Winter’s Bone. The eternal Judi Dench, having been nominated six times and only winning once, can never be considered out of the mix. The same can be said for both Helen Mirren and Naomi Watts, who star in Hitchcock and The Impossible, respectively. Even though both of their films are currently flying under the radar, these two actresses know how to deliver the goods, and no one would be shocked to see them delivering an accep-

tance speech come awards time.

In five months, when the red carpet is rolled out and Hollywood Boulevard becomes an impossible traffic jam of black limousines and stargazing tourists, the unassuming grey and beige Dolby Theatre will be the center of the entertainment universe. Millions will watch as an envelope is gently torn open, its contents hidden to all but the one person lucky enough to utter the phrase “and the Award for Best Picture goes to…” It’s a triumphant moment for all those involved in that film’s creation; years of work validated in one explosive instant. But until that moment, we’ll have to be content guessing who the lucky winner will be.

But if you ask me, my money is on The Master.

That movie kicked ass. ( Jake Savage)

7 HOLLYWOOD | FALL / WINTER 2012

71

image courtesy of honor fraser gallery, photo by JOSH WHITE

AS THE CROW FLIES

ELTON JOHN COLLECTS HER, ZAC POSEN COLLABORATES WITH HER, GEORGIA O’KEEFE INSPIRES HER. AT THE AGE OF 30, HER TRANCE-INDUCING, VIBRANTLY PAINTED CANVASES OF UNPOPULATED ROOMS AND PANORAMIC LANDSCAPES HAVE TRANSFORMED THE DALLAS-BORN, LOS ANGELES-BASED PAINTER INTO A RISING STAR OF THE INTERNATIONAL ART SCENE. ROSSON CROW IS GIVING THE ART WORLD A HISTORY LESSON WHILE BLAZING A TRAIL TO THE FUTURE. PHOTOGRAPHER ERIC LARSON BY ROBERT BARR

image courtesy of honor fraser gallery, photo by JOSH WHITE

AS THE CROW FLIES

ELTON JOHN COLLECTS HER, ZAC POSEN COLLABORATES WITH HER, GEORGIA O’KEEFE INSPIRES HER. AT THE AGE OF 30, HER TRANCE-INDUCING, VIBRANTLY PAINTED CANVASES OF UNPOPULATED ROOMS AND PANORAMIC LANDSCAPES HAVE TRANSFORMED THE DALLAS-BORN, LOS ANGELES-BASED PAINTER INTO A RISING STAR OF THE INTERNATIONAL ART SCENE. ROSSON CROW IS GIVING THE ART WORLD A HISTORY LESSON WHILE BLAZING A TRAIL TO THE FUTURE. PHOTOGRAPHER ERIC LARSON BY ROBERT BARR

TOM FORD

dress, CHRISTIAN LOUBOUTIN footwear (following page) BRIAN ATWOOD footwear, vintage dress (hair/ makeup MICHELLE MUNGCAL/ATELIER MANAGEMENT. digital capture and equipment

by SMASHBOX DIGITAL.

First gaining notoriety on the strength of her massively scaled, masterfully crafted paintings of historically evocative interiors, it’s no surprise when Crow lets slip that her mother was an interior designer for “super-fantastical, crazy” private airplanes. Is that where her recurring interest in interior space comes from? “It didn’t consciously come out of that, but I’m sure maybe there’s some Freudian influence.” Her fascination with the past seems to have taken root early as well. “When I was a little girl and I would play house with my friends, I’d be like, ‘We’re not gonna play normal house, we’re gonna play house in 1880s England, and we’re gonna speak with British accents. Oh, and the game is now called Schilling.’ ” Isolated at a “shitty, conservative” Dallas high school full of “jocks and cheerleaders,” Crow became fascinated with the Factory years of Andy Warhol and his gang of muses. “When I was 15 or 16,” she reveals, “I saw Edie Sedgwick and decided to bleach my hair and cut it just like that. I was just drawn to this kind of renegade artistic lifestyle in New York.” Like so many other creative teens, a teacher noticed her precocious artistic talents, “Douglas Dercott, my art history teacher, was a shining beacon of light. He was like, ‘You should apply to the School of Visual Arts and you should move to New York.’ And so I did.”

After earning her Bachelor of Fine Arts at SVA, Crow went on to get her master’s at Yale. “It [Yale] was definitely a really good time for me to feel like I could experiment, and I also learned how to talk about my work, and really kind of parse out some of these ideas that I was thinking about and how I could really tie that into what I was making.”

While so many others in her generation focused on video, performance or installation art, Crow chose one of the art world’s most ancient iterations: painting. “I think that painting does something that other mediums can’t. There’s something about painting that unfolds in different ways. It’s sexier. It’s slower. It takes more time to read and engage with; it behaves very differently from a photograph. A lot of people don’t have time for it, but that’s fine. I don’t want to engage those people. You can’t make everyone happy. I think it’s amazing that something that’s been around for so long can still be needed, relevant and captivating.”

It was also during her time as a student that the antecedents to Crow’s now signature, color-soaked, past-perfect explorations of interior space began to take shape. “I was really obsessed with the period rooms of The Metropolitan Museum of Art. All the time, I would kind of just sit in those rooms and think about those spaces. I also really loved to be in the ‘reconstructed’ historical spaces, because they’re not the ‘real’ spaces. They’re reconstructed as a museum in another country, so that’s a whole other level of that, just thinking about the theatrical element.” No discussion of Crow or her oeuvre is complete without talking Texas. This is a woman who, when not tooling around in her little red Corvette, cruises Los Angeles in a hulking Texas-edition Toyota Tacoma emblazoned with bumper stickers that declare: Don’t Blame Me I Voted for Willie Nelson, Eat More Rhinestones and Don’t Mess With Texas Women. As much as history, theatre, ghosts and a reckoning with past traumas too

7 HOLLYWOOD | FALL / WINTER 2012

75

TOM FORD

dress, CHRISTIAN LOUBOUTIN footwear (following page) BRIAN ATWOOD footwear, vintage dress (hair/ makeup MICHELLE MUNGCAL/ATELIER MANAGEMENT. digital capture and equipment

by SMASHBOX DIGITAL.

First gaining notoriety on the strength of her massively scaled, masterfully crafted paintings of historically evocative interiors, it’s no surprise when Crow lets slip that her mother was an interior designer for “super-fantastical, crazy” private airplanes. Is that where her recurring interest in interior space comes from? “It didn’t consciously come out of that, but I’m sure maybe there’s some Freudian influence.” Her fascination with the past seems to have taken root early as well. “When I was a little girl and I would play house with my friends, I’d be like, ‘We’re not gonna play normal house, we’re gonna play house in 1880s England, and we’re gonna speak with British accents. Oh, and the game is now called Schilling.’ ” Isolated at a “shitty, conservative” Dallas high school full of “jocks and cheerleaders,” Crow became fascinated with the Factory years of Andy Warhol and his gang of muses. “When I was 15 or 16,” she reveals, “I saw Edie Sedgwick and decided to bleach my hair and cut it just like that. I was just drawn to this kind of renegade artistic lifestyle in New York.” Like so many other creative teens, a teacher noticed her precocious artistic talents, “Douglas Dercott, my art history teacher, was a shining beacon of light. He was like, ‘You should apply to the School of Visual Arts and you should move to New York.’ And so I did.”

After earning her Bachelor of Fine Arts at SVA, Crow went on to get her master’s at Yale. “It [Yale] was definitely a really good time for me to feel like I could experiment, and I also learned how to talk about my work, and really kind of parse out some of these ideas that I was thinking about and how I could really tie that into what I was making.”

While so many others in her generation focused on video, performance or installation art, Crow chose one of the art world’s most ancient iterations: painting. “I think that painting does something that other mediums can’t. There’s something about painting that unfolds in different ways. It’s sexier. It’s slower. It takes more time to read and engage with; it behaves very differently from a photograph. A lot of people don’t have time for it, but that’s fine. I don’t want to engage those people. You can’t make everyone happy. I think it’s amazing that something that’s been around for so long can still be needed, relevant and captivating.”

It was also during her time as a student that the antecedents to Crow’s now signature, color-soaked, past-perfect explorations of interior space began to take shape. “I was really obsessed with the period rooms of The Metropolitan Museum of Art. All the time, I would kind of just sit in those rooms and think about those spaces. I also really loved to be in the ‘reconstructed’ historical spaces, because they’re not the ‘real’ spaces. They’re reconstructed as a museum in another country, so that’s a whole other level of that, just thinking about the theatrical element.” No discussion of Crow or her oeuvre is complete without talking Texas. This is a woman who, when not tooling around in her little red Corvette, cruises Los Angeles in a hulking Texas-edition Toyota Tacoma emblazoned with bumper stickers that declare: Don’t Blame Me I Voted for Willie Nelson, Eat More Rhinestones and Don’t Mess With Texas Women. As much as history, theatre, ghosts and a reckoning with past traumas too

7 HOLLYWOOD | FALL / WINTER 2012

75

Don’t Mess With Texas Women. As much as history, theatre, ghosts and a reckoning with past traumas too long swept under the proverbial rug are intrinsic to understanding and appreciating her work, it is the Lone Star State, a place that gave America mythical moments like the Alamo, the Kennedy assassination and, lest we never forget, the Ewing family (not to mention our 43rd president, George W. Bush).

Texas, or the idea of what Texas is, both to insiders and outsiders, figures prominently in Crow’s psyche and work. “I find it really fascinating, the mentality of the South, the West and Texas and their identity. It goes back to what I’m so interested in my work, which is American history and the ghosts of the past that we try to ignore but are still there. I’m very drawn to the dark things in history—Manifest Destiny and those really dark, crazy American ideals, which don’t really get talked about that much.

There’s something to the Southern and Western identities that’s tied to losing the Civil War but still think-

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ing that they were right.” Crow pauses, “I think that there’s something powerful, really powerful, that’s untapped in American history. There are so many German artists who make paintings about Nazis and Hitler and just their history and the guilt they feel.

We don’t have that in America.” She stops to finish her thought, those expressive eyes beginning to roll.

“In Texas, they’re trying to change all the textbooks to say that there really wasn’t a slave trade happening and, I mean, it’s the only place in the world that can produce somebody like Rick Perry.”

When asked what her future holds, Crow pauses to reflect. She mentions a desire to collaborate with personal hero Cormac McCarthy and create a series of paintings inspired by one his novels; then she’d like to design sets for the Metropolitan Opera; and perhaps accept one of the acting roles she’s been offered over the years. “Well, one of my favorite characters is Kim Novak in Vertigo. I love her. I love that movie. I wanna be a Hitchcock blond; and then halfway

through, switch to brunette.” She laughs, “I’ve turned them [acting roles] down, because I would only wanna do them if it was something really amazing and serious. And actually, ultimately, I would really love to direct a movie.”

As she continues to create big paintings that blend the representational with the abstract, the pretty with the scary, the past with the future and that defy stereotypes, this unabashed member of the new generation of strong women who just happen to be artists turns her gaze back to where it matters most: her work. “I like to think that my job is to just keep my head down and paint and study and become a better person.”

Rosson Crow’s next exhibition will be at Galerie Nathalie Obadia in Paris, slated for spring 2013.

Don’t Mess With Texas Women. As much as history, theatre, ghosts and a reckoning with past traumas too long swept under the proverbial rug are intrinsic to understanding and appreciating her work, it is the Lone Star State, a place that gave America mythical moments like the Alamo, the Kennedy assassination and, lest we never forget, the Ewing family (not to mention our 43rd president, George W. Bush).

Texas, or the idea of what Texas is, both to insiders and outsiders, figures prominently in Crow’s psyche and work. “I find it really fascinating, the mentality of the South, the West and Texas and their identity. It goes back to what I’m so interested in my work, which is American history and the ghosts of the past that we try to ignore but are still there. I’m very drawn to the dark things in history—Manifest Destiny and those really dark, crazy American ideals, which don’t really get talked about that much.

There’s something to the Southern and Western identities that’s tied to losing the Civil War but still think-

76

7 HOLLYWOOD | FALL / WINTER 2012

ing that they were right.” Crow pauses, “I think that there’s something powerful, really powerful, that’s untapped in American history. There are so many German artists who make paintings about Nazis and Hitler and just their history and the guilt they feel.

We don’t have that in America.” She stops to finish her thought, those expressive eyes beginning to roll.

“In Texas, they’re trying to change all the textbooks to say that there really wasn’t a slave trade happening and, I mean, it’s the only place in the world that can produce somebody like Rick Perry.”

When asked what her future holds, Crow pauses to reflect. She mentions a desire to collaborate with personal hero Cormac McCarthy and create a series of paintings inspired by one his novels; then she’d like to design sets for the Metropolitan Opera; and perhaps accept one of the acting roles she’s been offered over the years. “Well, one of my favorite characters is Kim Novak in Vertigo. I love her. I love that movie. I wanna be a Hitchcock blond; and then halfway

through, switch to brunette.” She laughs, “I’ve turned them [acting roles] down, because I would only wanna do them if it was something really amazing and serious. And actually, ultimately, I would really love to direct a movie.”

As she continues to create big paintings that blend the representational with the abstract, the pretty with the scary, the past with the future and that defy stereotypes, this unabashed member of the new generation of strong women who just happen to be artists turns her gaze back to where it matters most: her work. “I like to think that my job is to just keep my head down and paint and study and become a better person.”

Rosson Crow’s next exhibition will be at Galerie Nathalie Obadia in Paris, slated for spring 2013.

(INFLATABLE) BLONDES have more fun IMAGE COURTESY BFA

HAVEN’T YOU HEARD? LONDON’S LATEST “IT” GIRL IS 3 YEARS OLD (SHE WAS BORN IN 2009 AT A TRACEY EMIN SHOW AT THE WHITE CUBE GALLERY), 7 FEET TALL AND HAS THE CHICLY SUPERMODEL-ESQUE PROPORTIONS OF 35-25-34. WHO IS SHE? PANDEMONIA PANACEA, A CONCEPTUAL ARTIST WHOSE ART MIRRORS POPULAR CULTURE, LIFESTYLE AND CELEBRITY. “I CHOSE AN UNORTHODOX ROOT TO PRESENT MY WORK AND IDEAS,” SAYS THE BREATHY-VOICED, LATEX-CLAD BOMBSHELL. “I CONSTRUCTED A CELEBRITY AND INFILTRATED PANDEMONIA’S IMAGE BACK INTO THE MAINSTREAM MEDIA. MY WORK GETS EXHIBITED IN THE VERY SAME GLOSSY MAGAZINES I GET MY INSPIRATION FROM, AND THESE MAGAZINES ALSO PROVIDE A READY-MADE AUDIENCE FOR MY WORK.”BY ROBERT BARR

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(INFLATABLE) BLONDES have more fun IMAGE COURTESY BFA

HAVEN’T YOU HEARD? LONDON’S LATEST “IT” GIRL IS 3 YEARS OLD (SHE WAS BORN IN 2009 AT A TRACEY EMIN SHOW AT THE WHITE CUBE GALLERY), 7 FEET TALL AND HAS THE CHICLY SUPERMODEL-ESQUE PROPORTIONS OF 35-25-34. WHO IS SHE? PANDEMONIA PANACEA, A CONCEPTUAL ARTIST WHOSE ART MIRRORS POPULAR CULTURE, LIFESTYLE AND CELEBRITY. “I CHOSE AN UNORTHODOX ROOT TO PRESENT MY WORK AND IDEAS,” SAYS THE BREATHY-VOICED, LATEX-CLAD BOMBSHELL. “I CONSTRUCTED A CELEBRITY AND INFILTRATED PANDEMONIA’S IMAGE BACK INTO THE MAINSTREAM MEDIA. MY WORK GETS EXHIBITED IN THE VERY SAME GLOSSY MAGAZINES I GET MY INSPIRATION FROM, AND THESE MAGAZINES ALSO PROVIDE A READY-MADE AUDIENCE FOR MY WORK.”BY ROBERT BARR

78

7 HOLLYWOOD | FALL / WINTER 2012

Taking a break from her grueling schedule of silk-screening self-portraits and schmoozing with London’s boldfaced names like Stella McCartney, Natalia Vodianova and Agyness Deyn, this living work of art and fashion-show habitué was kind enough to pause ever so briefly and answer a few questions. Meet your new inspiration.

Does Pandemonia have a birthday? If so, what’s her star sign?

The biggest star of them all: Leo! How often does Pandemonia take Snowy for a walk? The only walk Snowy gets is down the red carpet. Paper or plastic? Plastic any time. Plastic is forever. Do blondes really have more fun? Yes! Especially platinum blondes with blonde highlights.Pandemonia has spoken about the importance of packaging vs. content. What does she think about the Hollywood star system and its reliance on packaging (beauty) vs. content (talent)? Packaging is the first rule of marketing. First impressions that count—that “puts bums on seats.” How does Pandemonia like to relax on the rare evening she’s not being drowned in paparazzi flashbulbs? Bubble bath. What comes to Pandemonia’s mind when she hears the words “red carpet”? “Snowy, walkies.” Time to shake off those pounds. What does Pandemonia wear to bed? Pandemonia never goes to bed.What was the first thing Pandemonia did this

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morning? Oh, you know, the usual things: pump up my hair. What was the last thing Pandemonia bought at the corner store? A puncture repair kit.

What does Pandemonia wear for a quick run to the corner store? Pandemonia doesn’t do corner store—that’s what staff are for. Beverly Hills or Bel Air? Bel Air; they have such smooth cars.

Has Pandemonia visited Hollywood? If not, when is she planning to make her debut? Not yet! As soon as an invite lands on her bureau, she will be on her way. What is Pandemonia’s signature perfume? “Pandemonium.” It’s my own range.

What is Pandemonia’s favorite book? Her social diary. Does Pandemonia have a favorite TV show? If so, what is it? Penelope Pitstop. She’s the “Glamour Gal of the Gas Pedal.” That dame can get out of any bind. When Pandemonia next hits L.A., are there any actors/actresses/directors she’d definitely like to meet? David Lynch, Terry Gilliam, Tim Burton. What’s Pandemonia’s favorite film? Blow-Up,

by Michelangelo Antonioni. Who is Pandemonia’s favorite artist? Yayoi Kusama. I love her Louis Vuitton handbags. What is the definition of “postpop art”? Post-pop art is art that interacts with popular culture. Unlike pop art that glorifies it.

What song always gets Pandemonia on her feet and dancing? I love vinyl. “Plastic Beach” by Gorillaz.

Can Pandemonia sing? If so, would she ever consider recording a single? With the right equipment, anyone can sing. What is Pandemonia’s signature alcoholic beverage? Vintage champagne! The bubbles go straight to my head. Who is Pandemonia’s favorite cartoon character? Herself. Does Pandemonia have any bad habits? Daydreaming.

Who are Pandemonia’s favorite fashion designers?

At the moment it’s Vivienne Westwood. She designed the Anglomania range for Melissa Shoes.

I love plastic shoes; they are so me. Does Pandemonia have a favorite actress, alive or dead, who’s inspired her look? If so who (and why)? Veronica Lake. Actually, it’s her “cheesecake” hair I love; it upstages everything, including herself. A very Hollywood question: How is Pandemonia maintaining her impeccable figure? At both Jimmy Choo and Steve Lazarides’s posh dinners, I kept to the breadsticks. My advice to your readers: “Long and thin food keeps you slim.” What do you envision yourself wearing on your first Academy Awards red carpet? Something that would rise above everyone else—a white inflated helium dress. Will Pandemonia be nominated? If so, in what category? Best Hair! Has Hollywood come knocking at Pandemonia’s door with film offers?

What sort of role would entice her to the silver screen?

It would have to be one of those classic two-dimensional film roles. No difficult dialogue; more of a support to the main actor. The perfect celluloid actress.What are Pandemonia’s thoughts on plastic surgery? Actions speak louder than words.

I went the whole way. Tanning: yes or no? I say, “stay covered up.” That's why my skin is so wrinkle-free. Where was Pandemonia’s most recent holiday? Bermuda! It’s a great place to disappear.

Is Pandemonia open to modeling gigs/product endorsements? If so, what sort of products does she dream of endorsing? This summer I've been modeling for Harper's Bazaar, Viva! Moda and Baku fashion magazines. I dream of endorsing L’Oréal.

I am a fan of their “ultimate blonde” campaign.

Is Pandemonia the type of girl who would consider posing for Playboy? Yes! As long as I could do it with my clothes on. We all know gentlemen prefer blondes. What sorts of gentlemen prefer Pandemonia?

Tall, handsome, affluent ones. Finally, what does “glamour” mean to Pandemonia? Lifestyle! Glossy, self-assured and luxurious sophistication.

Pandemonia’s silkscreen self-portraits are available at www.pandemonia99.com.

Taking a break from her grueling schedule of silk-screening self-portraits and schmoozing with London’s boldfaced names like Stella McCartney, Natalia Vodianova and Agyness Deyn, this living work of art and fashion-show habitué was kind enough to pause ever so briefly and answer a few questions. Meet your new inspiration.

Does Pandemonia have a birthday? If so, what’s her star sign?

The biggest star of them all: Leo! How often does Pandemonia take Snowy for a walk? The only walk Snowy gets is down the red carpet. Paper or plastic? Plastic any time. Plastic is forever. Do blondes really have more fun? Yes! Especially platinum blondes with blonde highlights.Pandemonia has spoken about the importance of packaging vs. content. What does she think about the Hollywood star system and its reliance on packaging (beauty) vs. content (talent)? Packaging is the first rule of marketing. First impressions that count—that “puts bums on seats.” How does Pandemonia like to relax on the rare evening she’s not being drowned in paparazzi flashbulbs? Bubble bath. What comes to Pandemonia’s mind when she hears the words “red carpet”? “Snowy, walkies.” Time to shake off those pounds. What does Pandemonia wear to bed? Pandemonia never goes to bed.What was the first thing Pandemonia did this

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morning? Oh, you know, the usual things: pump up my hair. What was the last thing Pandemonia bought at the corner store? A puncture repair kit.

What does Pandemonia wear for a quick run to the corner store? Pandemonia doesn’t do corner store—that’s what staff are for. Beverly Hills or Bel Air? Bel Air; they have such smooth cars.

Has Pandemonia visited Hollywood? If not, when is she planning to make her debut? Not yet! As soon as an invite lands on her bureau, she will be on her way. What is Pandemonia’s signature perfume? “Pandemonium.” It’s my own range.

What is Pandemonia’s favorite book? Her social diary. Does Pandemonia have a favorite TV show? If so, what is it? Penelope Pitstop. She’s the “Glamour Gal of the Gas Pedal.” That dame can get out of any bind. When Pandemonia next hits L.A., are there any actors/actresses/directors she’d definitely like to meet? David Lynch, Terry Gilliam, Tim Burton. What’s Pandemonia’s favorite film? Blow-Up,

by Michelangelo Antonioni. Who is Pandemonia’s favorite artist? Yayoi Kusama. I love her Louis Vuitton handbags. What is the definition of “postpop art”? Post-pop art is art that interacts with popular culture. Unlike pop art that glorifies it.

What song always gets Pandemonia on her feet and dancing? I love vinyl. “Plastic Beach” by Gorillaz.

Can Pandemonia sing? If so, would she ever consider recording a single? With the right equipment, anyone can sing. What is Pandemonia’s signature alcoholic beverage? Vintage champagne! The bubbles go straight to my head. Who is Pandemonia’s favorite cartoon character? Herself. Does Pandemonia have any bad habits? Daydreaming.

Who are Pandemonia’s favorite fashion designers?

At the moment it’s Vivienne Westwood. She designed the Anglomania range for Melissa Shoes.

I love plastic shoes; they are so me. Does Pandemonia have a favorite actress, alive or dead, who’s inspired her look? If so who (and why)? Veronica Lake. Actually, it’s her “cheesecake” hair I love; it upstages everything, including herself. A very Hollywood question: How is Pandemonia maintaining her impeccable figure? At both Jimmy Choo and Steve Lazarides’s posh dinners, I kept to the breadsticks. My advice to your readers: “Long and thin food keeps you slim.” What do you envision yourself wearing on your first Academy Awards red carpet? Something that would rise above everyone else—a white inflated helium dress. Will Pandemonia be nominated? If so, in what category? Best Hair! Has Hollywood come knocking at Pandemonia’s door with film offers?

What sort of role would entice her to the silver screen?

It would have to be one of those classic two-dimensional film roles. No difficult dialogue; more of a support to the main actor. The perfect celluloid actress.What are Pandemonia’s thoughts on plastic surgery? Actions speak louder than words.

I went the whole way. Tanning: yes or no? I say, “stay covered up.” That's why my skin is so wrinkle-free. Where was Pandemonia’s most recent holiday? Bermuda! It’s a great place to disappear.

Is Pandemonia open to modeling gigs/product endorsements? If so, what sort of products does she dream of endorsing? This summer I've been modeling for Harper's Bazaar, Viva! Moda and Baku fashion magazines. I dream of endorsing L’Oréal.

I am a fan of their “ultimate blonde” campaign.

Is Pandemonia the type of girl who would consider posing for Playboy? Yes! As long as I could do it with my clothes on. We all know gentlemen prefer blondes. What sorts of gentlemen prefer Pandemonia?

Tall, handsome, affluent ones. Finally, what does “glamour” mean to Pandemonia? Lifestyle! Glossy, self-assured and luxurious sophistication.

Pandemonia’s silkscreen self-portraits are available at www.pandemonia99.com.

SHE’S INSPIRED THEM ALL: ALAÏA, GAULTIER, GOUDE, LOUBOUTIN, MUGLER, FORD… SHE’S THE FLESH AND BLOOD INCARNATION OF CHIC À LA PARISIENNE. NOW THE BRAND AMBASSADOR FOR THE SHOCKINGLY STYLISH (AND RECENTLY REVIVED) HOUSE OF SCHIAPARELLI, THIS DOCUMENTARIAN, MUSE AND ACTRESS DOES IT ALL: PRESENTING THE ONE AND ONLY FARIDA KHELFA. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI

BY ROBERT BARR

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hairstyle drawing for farida by JEAN-PAUL GOUDE, 1984, courtesy jean-paul goude

shockingly

CHIC

AZZEDINE ALAÏA

jacket and dress, HÉLÈNE ZUBELDI earrings

SHE’S INSPIRED THEM ALL: ALAÏA, GAULTIER, GOUDE, LOUBOUTIN, MUGLER, FORD… SHE’S THE FLESH AND BLOOD INCARNATION OF CHIC À LA PARISIENNE. NOW THE BRAND AMBASSADOR FOR THE SHOCKINGLY STYLISH (AND RECENTLY REVIVED) HOUSE OF SCHIAPARELLI, THIS DOCUMENTARIAN, MUSE AND ACTRESS DOES IT ALL: PRESENTING THE ONE AND ONLY FARIDA KHELFA. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI

BY ROBERT BARR

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hairstyle drawing for farida by JEAN-PAUL GOUDE, 1984, courtesy jean-paul goude

shockingly

CHIC

AZZEDINE ALAÏA

jacket and dress, HÉLÈNE ZUBELDI earrings

FARIDA KHELFA, Paris, 1985, Courtesy Jean Paul Goude; FARIDA KHELFA AND AZZEDINE ALAÏA, 1984, Courtesy Jean Paul Goude; PORTRAIT OF GRACE JONES, New York, 1980, Courtesy Jean Paul Goude

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FARIDA KHELFA, Paris, 1985, Courtesy Jean Paul Goude; FARIDA KHELFA AND AZZEDINE ALAÏA, 1984, Courtesy Jean Paul Goude; PORTRAIT OF GRACE JONES, New York, 1980, Courtesy Jean Paul Goude

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“Above all, Schiaparelli was a liberated woman and I love liberated women. I find that it’s very important to break free of one’s origins. Freedom is taking your life in a totally different direction.”

FARIDA KHEFLA

Can you explain your role at the house of Schiaparelli?

I am an ambassador; I speak about what Schiaparelli is and the fashion force that she was. For me, she’s the DNA of fashion. All the top designers reference her. “Schiap” is everywhere you look, even though her career was actually quite short. She’s a bit like the Velvet Underground— they made very few albums but still influenced generations and generations.

She was the first to collaborate with major visual artists. Combining pure art with applied art was such a unique approach. For me, she was a kind of Andy Warhol before he was actually around.

She realized the importance of television, advertising, cinema. She was really a woman of the 20th century.

The way you speak about “Schiap” is really moving.

Her courage touches me deeply. She could have married a wealthy Italian aristocrat and had a very easygoing lifestyle. But she didn’t; she changed her destiny. Above all, Schiaparelli was a liberated woman, and I love liberated women. I find that it’s very important to break free of one’s origins. Freedom is taking your life in a totally different direction.

Let’s discuss your documentary about Jean Paul Gaultier that was shown at the de Young Museum in San Francisco. I feel like the documentary really touched people—Americans have a bit more perspective on fashion than the FrenchI, because we [the French], we’re too “inside.”

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I also did a documentary about the young Tunisians who initiated the Arab Spring. I think it’s important to show young Muslims who aren’t bearded, vociferous and violent. Also, I just finished editing a documentary about Christian Louboutin two days ago. The fact that you’ve known each other since teenagers is sure to make it very intimate. I wouldn’t make a documentary about someone I don’t love. I focus on people who have truly left their mark on their era, like Jean-Paul [Gaultier].

What touches you the most about Christian on a personal level? His loyalty, his friendship. He’s someone who’s very mysterious, with a lot of modesty.

What can we say about your acting career? I really love to act, but all my time has been taken up by documentaries!

What American directors would you like to work with?

I love David Lynch, Martin Scorsese, Michael Mann, James Gray, among others.

You opened Tom Ford’s now legendary private 2011 spring show in New York. How did you meet? As a filmmaker yourself, what did you think of A Single Man? We spent our Christmas holidays in the same place. When he asked me to do the runway show, I said yes right away even though I hadn’t walked the runway in years! Tom’s idea of taking women who are so different from each other, of any size and age, was so modern and cool. His film is a magnificent adaptation of Isherwood. He managed to turn a homosexual love story into a

universal love story that brought people together.

Everyone knows about your work with Alaïa. Are you still friends? Yes, we’re still very close. He came to see me at Schiaparelli on Place Vendôme. He knew the Schiaparelli. He told me all sorts of things about her.

What was it like living with and inspiring one of the truly great French photographers, Jean Paul Goude?

Jean Paul is a great artist, who is, like all great artists, a little bit psychic. He saw the “Beur” [Arab] movement before anyone in French society and highlighted it. Just like when he was in the United States and focused on African-American women.

In France, you were considered the symbol of the generation of immigration. Today you’re the symbol of a refined Parisian lady, who just happens to be a refined Parisian lady of a different ethnicity. That's why I'm doing this documentary about Tunisia. I noticed that, systematically, whenever we reference the Arab or Muslim world, we show negative things.

That's why the young Tunisians were so important for me to film. I want people who live in disadvantaged neighborhoods to see this documentary because the people in it express themselves perfectly—and they all have intellectual or artistic passions—while at the same time being Tunisians who changed the geopolitics of the Arab world.

And it also connects with a spirit of freedom and tolerance. Yes, of course. A taste for freedom is very important.

AZZEDINE ALAÏA

coat and dress, FARIDA KHELFA PERSONAL ARCHIVE suit (opposite page) HÉLÈNE ZUBELDIA earrings hair LEILA.A/YUMIKOTO PARIS. makeup ADAM DE CRUZ/YUMIKOTO PARIS . manicurist CAMILLE ROYER. stylist’s assistants MBOKO MOBUTU, TAREK BACHA. makeup artist’s assistant CÉLINE DE CRUZ. special thanks to JEAN PAUL GOUDE. shot at LE PETIT OISEAU VA SORTIR, PARIS

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“Above all, Schiaparelli was a liberated woman and I love liberated women. I find that it’s very important to break free of one’s origins. Freedom is taking your life in a totally different direction.”

FARIDA KHEFLA

Can you explain your role at the house of Schiaparelli?

I am an ambassador; I speak about what Schiaparelli is and the fashion force that she was. For me, she’s the DNA of fashion. All the top designers reference her. “Schiap” is everywhere you look, even though her career was actually quite short. She’s a bit like the Velvet Underground— they made very few albums but still influenced generations and generations.

She was the first to collaborate with major visual artists. Combining pure art with applied art was such a unique approach. For me, she was a kind of Andy Warhol before he was actually around.

She realized the importance of television, advertising, cinema. She was really a woman of the 20th century.

The way you speak about “Schiap” is really moving.

Her courage touches me deeply. She could have married a wealthy Italian aristocrat and had a very easygoing lifestyle. But she didn’t; she changed her destiny. Above all, Schiaparelli was a liberated woman, and I love liberated women. I find that it’s very important to break free of one’s origins. Freedom is taking your life in a totally different direction.

Let’s discuss your documentary about Jean Paul Gaultier that was shown at the de Young Museum in San Francisco. I feel like the documentary really touched people—Americans have a bit more perspective on fashion than the FrenchI, because we [the French], we’re too “inside.”

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I also did a documentary about the young Tunisians who initiated the Arab Spring. I think it’s important to show young Muslims who aren’t bearded, vociferous and violent. Also, I just finished editing a documentary about Christian Louboutin two days ago. The fact that you’ve known each other since teenagers is sure to make it very intimate. I wouldn’t make a documentary about someone I don’t love. I focus on people who have truly left their mark on their era, like Jean-Paul [Gaultier].

What touches you the most about Christian on a personal level? His loyalty, his friendship. He’s someone who’s very mysterious, with a lot of modesty.

What can we say about your acting career? I really love to act, but all my time has been taken up by documentaries!

What American directors would you like to work with?

I love David Lynch, Martin Scorsese, Michael Mann, James Gray, among others.

You opened Tom Ford’s now legendary private 2011 spring show in New York. How did you meet? As a filmmaker yourself, what did you think of A Single Man? We spent our Christmas holidays in the same place. When he asked me to do the runway show, I said yes right away even though I hadn’t walked the runway in years! Tom’s idea of taking women who are so different from each other, of any size and age, was so modern and cool. His film is a magnificent adaptation of Isherwood. He managed to turn a homosexual love story into a

universal love story that brought people together.

Everyone knows about your work with Alaïa. Are you still friends? Yes, we’re still very close. He came to see me at Schiaparelli on Place Vendôme. He knew the Schiaparelli. He told me all sorts of things about her.

What was it like living with and inspiring one of the truly great French photographers, Jean Paul Goude?

Jean Paul is a great artist, who is, like all great artists, a little bit psychic. He saw the “Beur” [Arab] movement before anyone in French society and highlighted it. Just like when he was in the United States and focused on African-American women.

In France, you were considered the symbol of the generation of immigration. Today you’re the symbol of a refined Parisian lady, who just happens to be a refined Parisian lady of a different ethnicity. That's why I'm doing this documentary about Tunisia. I noticed that, systematically, whenever we reference the Arab or Muslim world, we show negative things.

That's why the young Tunisians were so important for me to film. I want people who live in disadvantaged neighborhoods to see this documentary because the people in it express themselves perfectly—and they all have intellectual or artistic passions—while at the same time being Tunisians who changed the geopolitics of the Arab world.

And it also connects with a spirit of freedom and tolerance. Yes, of course. A taste for freedom is very important.

AZZEDINE ALAÏA

coat and dress, FARIDA KHELFA PERSONAL ARCHIVE suit (opposite page) HÉLÈNE ZUBELDIA earrings hair LEILA.A/YUMIKOTO PARIS. makeup ADAM DE CRUZ/YUMIKOTO PARIS . manicurist CAMILLE ROYER. stylist’s assistants MBOKO MOBUTU, TAREK BACHA. makeup artist’s assistant CÉLINE DE CRUZ. special thanks to JEAN PAUL GOUDE. shot at LE PETIT OISEAU VA SORTIR, PARIS

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ICON review

ANTONIO LOPEZ: fashion, art, sex & disco

Jessica Lange. Jerry Hall. Donna Jordan. Jane Forth. Pat Cleveland. Grace Motherfucking Jones. Talk about good taste. Nine times out of ten, when people reminisce about the “good old days” they tend to gloss over major problems that once existed (racism, women’s inequality, landlines, just to name a few). However, when it comes to the vivid, vital and vivacious energy bursting forth from the work of Antonio Lopez and creative partner Juan Ramos, the old days really do seem a lot more creative, cool and captivating than our current, (supposedly) more liberated era.

As influential as Erté or Vargas in defining the visual energy of his generation, Antonio’s talent took him from Utuado, Puerto Rico, to Charles James’ studio in Manhattan to the rarefied Parisian universe of Karl Lagerfeld and back to New York again. Along the way, Antonio made his “girls” boldfaced names—who eventually became a supermodel/Rolling Stone wife, a pop icon and an Academy Award-winning actress—and made fashion illustration a “dying” art form, once magazines and newspapers could publish photographs, into the perfect medium for conveying the Seventies’ sensuously decadent chic.

An absolute must for the bookshelves of fashion, cosmetics and glamour junkies, Mauricio and Roger Padilha deliver a glowing and glamorous tribute to a man who conjured up shoots—that look as contemporary as anything published by anyone today—with nothing more than a Polaroid camera, a bathtub and a gorgeous girl wearing a serious face full of maquillage. Oh, the simple days…

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artwork for BRIGITTE BARDOT Interview Magazine Cover, 1975.

BY M AURICIO AND ROGER PADILHA PUBLISHED BY RIZ ZOLI NEW YORK

ICON review

ANTONIO LOPEZ: fashion, art, sex & disco

Jessica Lange. Jerry Hall. Donna Jordan. Jane Forth. Pat Cleveland. Grace Motherfucking Jones. Talk about good taste. Nine times out of ten, when people reminisce about the “good old days” they tend to gloss over major problems that once existed (racism, women’s inequality, landlines, just to name a few). However, when it comes to the vivid, vital and vivacious energy bursting forth from the work of Antonio Lopez and creative partner Juan Ramos, the old days really do seem a lot more creative, cool and captivating than our current, (supposedly) more liberated era.

As influential as Erté or Vargas in defining the visual energy of his generation, Antonio’s talent took him from Utuado, Puerto Rico, to Charles James’ studio in Manhattan to the rarefied Parisian universe of Karl Lagerfeld and back to New York again. Along the way, Antonio made his “girls” boldfaced names—who eventually became a supermodel/Rolling Stone wife, a pop icon and an Academy Award-winning actress—and made fashion illustration a “dying” art form, once magazines and newspapers could publish photographs, into the perfect medium for conveying the Seventies’ sensuously decadent chic.

An absolute must for the bookshelves of fashion, cosmetics and glamour junkies, Mauricio and Roger Padilha deliver a glowing and glamorous tribute to a man who conjured up shoots—that look as contemporary as anything published by anyone today—with nothing more than a Polaroid camera, a bathtub and a gorgeous girl wearing a serious face full of maquillage. Oh, the simple days…

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artwork for BRIGITTE BARDOT Interview Magazine Cover, 1975.

BY M AURICIO AND ROGER PADILHA PUBLISHED BY RIZ ZOLI NEW YORK

all images ANTONIO LOPEZ: FASHION, ART, SEX & DISCO by ROGER PADILHA AND MAURICIO PADILHA, COPYRIGHT THE ESTATE OF ANTONIO LOPEZ AND JUAN RAMOS

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all images ANTONIO LOPEZ: FASHION, ART, SEX & DISCO by ROGER PADILHA AND MAURICIO PADILHA, COPYRIGHT THE ESTATE OF ANTONIO LOPEZ AND JUAN RAMOS

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ICON forever

“I want to be a Texan 24 hours a day.”

JAMES DEAN

JAMES DEAN

during the production of Giant (1956) Courtesy the Collections of the Margaret Herrick Library.

ICON forever

“I want to be a Texan 24 hours a day.”

JAMES DEAN

JAMES DEAN

during the production of Giant (1956) Courtesy the Collections of the Margaret Herrick Library.

THE AGE OF elegance

ALEXANDER FERRARIO: AFTER DEBUTING EXCLUSIVELY AT JIL SANDER IN MILAN, THIS ARGENTINEAN AND FRENCH ACTOR AND MODEL WITH UNDENIABLY ARISTOCRATIC ALLURE AND STREAMLINED SUAVENESS INSTANTLY CAPTURED EVERYONE’S ATTENTION, GOING FROM UNKNOWN TO TOAST OF THE TOWN IN LESS THAN A WEEK. FASHION’S FRESHEST FACE DEMONSTRATES THAT DRESSED-UP CHIC (WITH A TOUCH OF THE BRANT BROTHERS’ BOLDNESS) IS AN AGELESS AFFAIR. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI

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THE AGE OF elegance

ALEXANDER FERRARIO: AFTER DEBUTING EXCLUSIVELY AT JIL SANDER IN MILAN, THIS ARGENTINEAN AND FRENCH ACTOR AND MODEL WITH UNDENIABLY ARISTOCRATIC ALLURE AND STREAMLINED SUAVENESS INSTANTLY CAPTURED EVERYONE’S ATTENTION, GOING FROM UNKNOWN TO TOAST OF THE TOWN IN LESS THAN A WEEK. FASHION’S FRESHEST FACE DEMONSTRATES THAT DRESSED-UP CHIC (WITH A TOUCH OF THE BRANT BROTHERS’ BOLDNESS) IS AN AGELESS AFFAIR. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI

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KRIS VAN ASSCHE jacket, shirt, pants and tie, WOOY-

OUNGMI coat, GIUSEPPE ZANOTTI DESIGN footwear, WOLFORD socks. (opposite page) GUESS BY MARCIANO tuxedo jacket, shirt, bow tie, scarf and pocket square. (fragrance) GUESS BY MARCIANO BY GUESS FOR MEN EAU DE TOILETTE spray

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KRIS VAN ASSCHE jacket, shirt, pants and tie, WOOY-

OUNGMI coat, GIUSEPPE ZANOTTI DESIGN footwear, WOLFORD socks. (opposite page) GUESS BY MARCIANO tuxedo jacket, shirt, bow tie, scarf and pocket square. (fragrance) GUESS BY MARCIANO BY GUESS FOR MEN EAU DE TOILETTE spray

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LANVIN

pants, diesel black gold sweater, CHRISTIAN LOUBOUTIN footwear. (opposite) KENZO coat and shirt, on skin L’ORÉAL paris men’s expert oil controller anti-oiliness moisturizer

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LANVIN

pants, diesel black gold sweater, CHRISTIAN LOUBOUTIN footwear. (opposite) KENZO coat and shirt, on skin L’ORÉAL paris men’s expert oil controller anti-oiliness moisturizer

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BURBERRY LONDON

coat, suit, shirt, tie and gloves, BURBERRY PRORSUM umbrella. (left) WOOYOUNGMI coat. (previous spread) LANVIN sweater. model ALEXANDER FERRARIO AT NEW MADISON PARIS. hair LEILA.A/ YUMIKOTO PARIS

Grooming ISMAEL BLANCO/ AGENCE AURELIEN PARIS. stylist’s assistants MBOKO MOBUTU, TAREK BACHA. retouching LUNATIX. shot at LE PETIT OISEAU VA SORTIR, PARIS. digital capture STEFANO POLI/DIGITARTPARIS

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BURBERRY LONDON

coat, suit, shirt, tie and gloves, BURBERRY PRORSUM umbrella. (left) WOOYOUNGMI coat. (previous spread) LANVIN sweater. model ALEXANDER FERRARIO AT NEW MADISON PARIS. hair LEILA.A/ YUMIKOTO PARIS

Grooming ISMAEL BLANCO/ AGENCE AURELIEN PARIS. stylist’s assistants MBOKO MOBUTU, TAREK BACHA. retouching LUNATIX. shot at LE PETIT OISEAU VA SORTIR, PARIS. digital capture STEFANO POLI/DIGITARTPARIS

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DAVID BOWIE / DIAMOND DOGS LIVE (RCA, 1974) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

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DAVID BOWIE / DIAMOND DOGS LIVE (RCA, 1974) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

pierre & gilles

SOCIAL MEDIUMS TODAY, THEY’RE SUPERSTARS. JEFF KOONS ONCE WROTE OF THEIR WORK, “IT’S HARD TO THINK OF CONTEMPORARY CULTURE WITHOUT THE INFLUENCE OF PIERRE AND GILLES, FROM ADVERTISING TO FASHION PHOTOGRAPHY, MUSIC VIDEO, AND FILM. THIS IS TRULY GLOBAL ART.” CELEBRATED WORLDWIDE FOR THEIR HYPER-REAL, APOTHEOSIZING IMAGES OF CELEBRITIES, SEX GODS AND FEMMES FATALES, ICONIC ART WORLD DUO PIERRE ET GILLES REVEAL THEIR ROOTS IN A SIMULTANEOUSLY SWEET AND PROFOUND PORTRAIT OF THE ARTISTS AS YOUNG MEN. BY ROBERT BARR

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pierre & gilles

SOCIAL MEDIUMS TODAY, THEY’RE SUPERSTARS. JEFF KOONS ONCE WROTE OF THEIR WORK, “IT’S HARD TO THINK OF CONTEMPORARY CULTURE WITHOUT THE INFLUENCE OF PIERRE AND GILLES, FROM ADVERTISING TO FASHION PHOTOGRAPHY, MUSIC VIDEO, AND FILM. THIS IS TRULY GLOBAL ART.” CELEBRATED WORLDWIDE FOR THEIR HYPER-REAL, APOTHEOSIZING IMAGES OF CELEBRITIES, SEX GODS AND FEMMES FATALES, ICONIC ART WORLD DUO PIERRE ET GILLES REVEAL THEIR ROOTS IN A SIMULTANEOUSLY SWEET AND PROFOUND PORTRAIT OF THE ARTISTS AS YOUNG MEN. BY ROBERT BARR

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(opposite page) photographer ALIX MALKA. stylist LOIC MASI. hair LEILA.A/YUMIKOTO PARIS. grooming ISMAEL BLANCO/AGENCE AURELIEN PARIS. stylist’s assistants MBOKO MOBUTU, TAREK BACHA. hair stylist’s assistant LUCIANO CORCOVADO. retouching LUNATIX. special thanks to THOMAS DOUSTALY AND MARC ANTOINE SERRA

(previous page) images from PIERRE & GILLES, AUTOBIOGRAPHIE EN PHOTOMATONS 1968–1988 (clockwise from above) CATHERINE DENEUVE FROM THE FILM LA REINE BLANCHE (1991), courtesy PIERRE ET GILLES, “SAINTE MARIE MACKILLOP,” KYLIE MINOGUE (1995), courtesy PIERRE ET GILLES, AMANDA LEAR (1979), courtesy PIERRE ET GILLES.

The gang’s all here: Edwige, Farida Khelfa, Christian Louboutin, Kenzo, Serge Gainsbourg, Vincent Darré, Victoire de Castellane, Bambou. During one magical moment in the late ’70s and early ’80s when Paris’s answer to Studio 54, Le Palace, was popping, names now legendary in the worlds of art, culture and cinema hung out at Pierre Commoy and Gilles Blanchard’s place on rue des Blancs-Manteaux for soirées filled with creative chaos, frivolous fun and, most importantly, trips to the photo booth. “It all started with the idea of friends, celebrities, people we liked,” says Gilles, one half of the photographic fantasy spinning couple known to the world as Pierre et Gilles, as he reminisces about the era surrounding the partners’ latest book, Autobiographie en Photomatons 1968–88. “The idea was to collect them, to have a collection of everyone we liked. When people came to see us, they knew how much we loved photo booth pictures. People were always bringing them to us. Our friends even brought us pictures of total unknowns!”

Provocatively prescient in their distinctive, hand-painted portraits that range from global superstars to Indian deities, sensual sailors 108

7 HOLLYWOOD | FALL / WINTER 2012

and anonymous individuals, Pierre et Gilles anticipated our current age’s fascination with Photoshop-perfect, deifying representations of our fellow human beings. In Autobiographie en Photomatons 1968–88, we discover not only the roots of their relationship (now in its fourth decade) but also the seeds of their undeniably avant-garde vision. Almost obsessive in their desire to accumulate photo booth pictures of family, friends and each other (not to mention total strangers), we see the beginning of our very own Facebook age, where people spend hours scrolling, judging and tagging images of those they love, those they’d like to love a little bit more, those they hate and those they don’t even know. “We wanted to exhibit them [the photo booth strips] on huge canvases, like paintings. Thanks to Facebook and Digital [equipment], we were able to scan them, put them on a computer screen and allow the world to discover them.”

Now safely enshrined in the artistic canon as indefatigable gods of photography, this book, with its encyclopedic exploration of the dynamic duo’s aesthetic defining origins, invites a total reexamination of their oeuvre.

Any fans, casual or passionate, of contemporary photography, fashion illustration and pop culture will find, as they leaf through the book’s pages, an urge to go back to the bookshelf (or search Google) to dive into the totality of their work. Pierre et Gilles’s genre-defying mash-up of fine art meets commercial art, kitsch meets classicism, sex meets the sacred and fashion meets fantasy, pushed, poked and prodded conventions long before it was clear the conventions even existed.

And then there’s the work itself. From the very beginning, members of the “fashion pack”—to quote the lady they photographed for their very first album cover—were fascinated by the couple’s work. “Shooting Amanda [Lear] was amazing,” says Gilles. “She was the first celebrity that asked us to take a picture of her! She specified that she wanted to be very natural, very little makeup. We really enjoyed shooting her. It was a very simple picture that we did at her house.” After Lear, word quickly spread amongst Paris’s style tribe, which led them to Thierry Mugler, who gave them their first chance in the fashion world. “Working with Thierry was very important [to our ca-

reer]. We had a mutual friend who forwarded our pictures to Thierry, who then contacted us because he liked what we were doing. We ended up working with Thierry for a long time; we did so many fashion show invites!”

With Pierre behind the lens and Gilles in charge of paint, airbrush and sets, their nearly four decades of unified creation have reinvented our idol-gazing ideals of celebrity portraiture. Who else but these two French fantasists could have imagined Charlotte Rampling—a star as famous for her sensuous, Helmut Newton–inspiring glamour as for her undeniable talent—alone at a café, looking luxuriantly lachrymose under sparkling snowflakes? “Charlotte was doing an exhibition and she wanted a picture from us,” recounts Pierre. “So she asked us to shoot her. It was amusing because there was no makeup, no hair. It was only we three.

Very simple, and it was a really beautiful experience. The picture was really real and very expressive. Deep inside of her there’s a sadness that came out and some melancholy, and this was what we wanted to show in the picture.”

From Madame Rampling, our conversation turns (as only it can in Pierre et Gilles’s uni-

verse) to their iconic portrait of Madonna Louise Veronica Cecconi. Captured at the height of her Blonde Ambition, we see the Queen of Reinvention as a Pied Piper of sorts, beckoning to her legions of fans in a set that bears a glittering resemblance to something we might have seen in Mozart’s The Magic Flute. Unlike their usual habit of shooting both stars and unknowns in Le Pré-Saint-Gervais, a suburb on the northern outskirts of Paris where they live and work in a converted factory, this one was an out-of-town experience. Says Pierre, “That particular session, we did it in New York. Jean Paul Gaultier arranged the meeting. We even spent the night with her.” He pauses for dramatic effect, allowing the thought of “spending the night” with the Material Girl herself to sink in. “We went to Zingaro Circus, and afterward, back to her home, where she suggested that we shoot her for her Japanese tour.”

Speaking of Pop Queens, what about their immaculately irreverent image of Down Under songbird Kylie Minogue in nun’s habit sidesaddle on a carousel horse? “We met Kylie in Australia,” says Pierre, “at an exhibition during Mardi Gras. She was performing and came

7 HOLLYWOOD | FALL / WINTER 2012

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(opposite page) photographer ALIX MALKA. stylist LOIC MASI. hair LEILA.A/YUMIKOTO PARIS. grooming ISMAEL BLANCO/AGENCE AURELIEN PARIS. stylist’s assistants MBOKO MOBUTU, TAREK BACHA. hair stylist’s assistant LUCIANO CORCOVADO. retouching LUNATIX. special thanks to THOMAS DOUSTALY AND MARC ANTOINE SERRA

(previous page) images from PIERRE & GILLES, AUTOBIOGRAPHIE EN PHOTOMATONS 1968–1988 (clockwise from above) CATHERINE DENEUVE FROM THE FILM LA REINE BLANCHE (1991), courtesy PIERRE ET GILLES, “SAINTE MARIE MACKILLOP,” KYLIE MINOGUE (1995), courtesy PIERRE ET GILLES, AMANDA LEAR (1979), courtesy PIERRE ET GILLES.

The gang’s all here: Edwige, Farida Khelfa, Christian Louboutin, Kenzo, Serge Gainsbourg, Vincent Darré, Victoire de Castellane, Bambou. During one magical moment in the late ’70s and early ’80s when Paris’s answer to Studio 54, Le Palace, was popping, names now legendary in the worlds of art, culture and cinema hung out at Pierre Commoy and Gilles Blanchard’s place on rue des Blancs-Manteaux for soirées filled with creative chaos, frivolous fun and, most importantly, trips to the photo booth. “It all started with the idea of friends, celebrities, people we liked,” says Gilles, one half of the photographic fantasy spinning couple known to the world as Pierre et Gilles, as he reminisces about the era surrounding the partners’ latest book, Autobiographie en Photomatons 1968–88. “The idea was to collect them, to have a collection of everyone we liked. When people came to see us, they knew how much we loved photo booth pictures. People were always bringing them to us. Our friends even brought us pictures of total unknowns!”

Provocatively prescient in their distinctive, hand-painted portraits that range from global superstars to Indian deities, sensual sailors 108

7 HOLLYWOOD | FALL / WINTER 2012

and anonymous individuals, Pierre et Gilles anticipated our current age’s fascination with Photoshop-perfect, deifying representations of our fellow human beings. In Autobiographie en Photomatons 1968–88, we discover not only the roots of their relationship (now in its fourth decade) but also the seeds of their undeniably avant-garde vision. Almost obsessive in their desire to accumulate photo booth pictures of family, friends and each other (not to mention total strangers), we see the beginning of our very own Facebook age, where people spend hours scrolling, judging and tagging images of those they love, those they’d like to love a little bit more, those they hate and those they don’t even know. “We wanted to exhibit them [the photo booth strips] on huge canvases, like paintings. Thanks to Facebook and Digital [equipment], we were able to scan them, put them on a computer screen and allow the world to discover them.”

Now safely enshrined in the artistic canon as indefatigable gods of photography, this book, with its encyclopedic exploration of the dynamic duo’s aesthetic defining origins, invites a total reexamination of their oeuvre.

Any fans, casual or passionate, of contemporary photography, fashion illustration and pop culture will find, as they leaf through the book’s pages, an urge to go back to the bookshelf (or search Google) to dive into the totality of their work. Pierre et Gilles’s genre-defying mash-up of fine art meets commercial art, kitsch meets classicism, sex meets the sacred and fashion meets fantasy, pushed, poked and prodded conventions long before it was clear the conventions even existed.

And then there’s the work itself. From the very beginning, members of the “fashion pack”—to quote the lady they photographed for their very first album cover—were fascinated by the couple’s work. “Shooting Amanda [Lear] was amazing,” says Gilles. “She was the first celebrity that asked us to take a picture of her! She specified that she wanted to be very natural, very little makeup. We really enjoyed shooting her. It was a very simple picture that we did at her house.” After Lear, word quickly spread amongst Paris’s style tribe, which led them to Thierry Mugler, who gave them their first chance in the fashion world. “Working with Thierry was very important [to our ca-

reer]. We had a mutual friend who forwarded our pictures to Thierry, who then contacted us because he liked what we were doing. We ended up working with Thierry for a long time; we did so many fashion show invites!”

With Pierre behind the lens and Gilles in charge of paint, airbrush and sets, their nearly four decades of unified creation have reinvented our idol-gazing ideals of celebrity portraiture. Who else but these two French fantasists could have imagined Charlotte Rampling—a star as famous for her sensuous, Helmut Newton–inspiring glamour as for her undeniable talent—alone at a café, looking luxuriantly lachrymose under sparkling snowflakes? “Charlotte was doing an exhibition and she wanted a picture from us,” recounts Pierre. “So she asked us to shoot her. It was amusing because there was no makeup, no hair. It was only we three.

Very simple, and it was a really beautiful experience. The picture was really real and very expressive. Deep inside of her there’s a sadness that came out and some melancholy, and this was what we wanted to show in the picture.”

From Madame Rampling, our conversation turns (as only it can in Pierre et Gilles’s uni-

verse) to their iconic portrait of Madonna Louise Veronica Cecconi. Captured at the height of her Blonde Ambition, we see the Queen of Reinvention as a Pied Piper of sorts, beckoning to her legions of fans in a set that bears a glittering resemblance to something we might have seen in Mozart’s The Magic Flute. Unlike their usual habit of shooting both stars and unknowns in Le Pré-Saint-Gervais, a suburb on the northern outskirts of Paris where they live and work in a converted factory, this one was an out-of-town experience. Says Pierre, “That particular session, we did it in New York. Jean Paul Gaultier arranged the meeting. We even spent the night with her.” He pauses for dramatic effect, allowing the thought of “spending the night” with the Material Girl herself to sink in. “We went to Zingaro Circus, and afterward, back to her home, where she suggested that we shoot her for her Japanese tour.”

Speaking of Pop Queens, what about their immaculately irreverent image of Down Under songbird Kylie Minogue in nun’s habit sidesaddle on a carousel horse? “We met Kylie in Australia,” says Pierre, “at an exhibition during Mardi Gras. She was performing and came

7 HOLLYWOOD | FALL / WINTER 2012

109

(above) ISABELLE HUPPERT, courtesy PIERRE ET GILLES (below) JEFF STRYKER (1991), courtesy PIERRE ET GILLES (right) ZULEIKA (1978), courtesy PIERRE ET GILLES

110

7 HOLLYWOOD | FALL / WINTER 2012

(above) ISABELLE HUPPERT, courtesy PIERRE ET GILLES (below) JEFF STRYKER (1991), courtesy PIERRE ET GILLES (right) ZULEIKA (1978), courtesy PIERRE ET GILLES

110

7 HOLLYWOOD | FALL / WINTER 2012

images from PIERRE & GILLES, AUTOBIOGRAPHIE EN PHOTOMATONS 1968–1988

to see our show. We chatted and we decided to organize a photo shoot while we were still down there. We shot her in Sydney, which was great. At the time, Pope John Paul II was canonizing Saint Mary Immaculate, so we took that idea and mixed it with all the decorations from Mardi Gras.”

While over the length and breadth of their careers Pierre et Gilles have shot nearly everyone in the pop culture stratosphere, it’s one shoot that didn’t happen that deserves retelling in these pages: former French first lady Carla Bruni-Sarkozy. “It was a very amusing circumstance,” says Pierre “It was during the funeral of Francois Bodeau. Carla asked all of Francois’s friends to have dinner at the Élysée Palace. So we went. When were there, she said she really wanted us to shoot her as Jeanne d’Arc, la pucelle [the virgin]. She was very detailed about the way she wanted to be shot.

She said she had dreamt about it and she knew exactly what she wanted.” Naturally, one has to inquire as to whether the famously unchaste Mrs. Bruni-Sarkozy was being, shall we say, ironique as to her intentions of being immortalized as the close-legged symbol of French feminine chastity and resolve. “In between,” responds Gilles. “We always wanted to work with her, but it never happened.”

How does it feel to be the couple that went on to define their (and subsequent) generations’ view of photography, painting and the world around them? “What really touches us is the fact that stuff we were doing 20 years ago is being copied today. It’s a pleasure to see that even today we’re inspiring people. It’s the proof that in some aspects, we were right.”

As our conversation came to an end, I asked Pierre et Gilles what their favorite “on set” memory of the past (nearly) 40 years to-

gether was. After a long pause, Gilles spoke up.

“Shooting Yves Saint Laurent. He was one of our first portraits. We did it very simply, after a fashion show, with a flash, very simple. Saint Laurent was the first person to call me ‘monsieur.’ We were still so young; it was a weird feeling to be called ‘monsieur’! We were very impressed to meet him. We had already been to his shows, but to actually shoot him, now that was really impressive.”

7 HOLLYWOOD | FALL / WINTER 2012

113

images from PIERRE & GILLES, AUTOBIOGRAPHIE EN PHOTOMATONS 1968–1988

to see our show. We chatted and we decided to organize a photo shoot while we were still down there. We shot her in Sydney, which was great. At the time, Pope John Paul II was canonizing Saint Mary Immaculate, so we took that idea and mixed it with all the decorations from Mardi Gras.”

While over the length and breadth of their careers Pierre et Gilles have shot nearly everyone in the pop culture stratosphere, it’s one shoot that didn’t happen that deserves retelling in these pages: former French first lady Carla Bruni-Sarkozy. “It was a very amusing circumstance,” says Pierre “It was during the funeral of Francois Bodeau. Carla asked all of Francois’s friends to have dinner at the Élysée Palace. So we went. When were there, she said she really wanted us to shoot her as Jeanne d’Arc, la pucelle [the virgin]. She was very detailed about the way she wanted to be shot.

She said she had dreamt about it and she knew exactly what she wanted.” Naturally, one has to inquire as to whether the famously unchaste Mrs. Bruni-Sarkozy was being, shall we say, ironique as to her intentions of being immortalized as the close-legged symbol of French feminine chastity and resolve. “In between,” responds Gilles. “We always wanted to work with her, but it never happened.”

How does it feel to be the couple that went on to define their (and subsequent) generations’ view of photography, painting and the world around them? “What really touches us is the fact that stuff we were doing 20 years ago is being copied today. It’s a pleasure to see that even today we’re inspiring people. It’s the proof that in some aspects, we were right.”

As our conversation came to an end, I asked Pierre et Gilles what their favorite “on set” memory of the past (nearly) 40 years to-

gether was. After a long pause, Gilles spoke up.

“Shooting Yves Saint Laurent. He was one of our first portraits. We did it very simply, after a fashion show, with a flash, very simple. Saint Laurent was the first person to call me ‘monsieur.’ We were still so young; it was a weird feeling to be called ‘monsieur’! We were very impressed to meet him. We had already been to his shows, but to actually shoot him, now that was really impressive.”

7 HOLLYWOOD | FALL / WINTER 2012

113

MARVIN GAYE – LIVE AT THE LONDON PALLADIUM (Tamla Records, 1977) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

MARVIN GAYE – LIVE AT THE LONDON PALLADIUM (Tamla Records, 1977) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

(opposite) WAYNE STAMBLER robert mapplethorpe,(above) robert mapplethorpe, 1987, THE J. PAUL GETTY MUSEUM, LOS ANGELES, jointly acquired by the LOS ANGELES COUNTY MUSEUM OF ART, with funds provided by the DAVID GEFFEN FOUNDATION and the J. PAUL GETTY TRUST. LACMA captions on pictures

ICON forever

double your pleasure:

DUAL MAPPLETHORPE

BY ROBERTA CRUGER

Photographer Robert Mapplethorpe (1946–1989) needs no introduction, but a new home is welcoming his visionary work. As one of the most influential American artists of the late 20th century, Robert Mapplethorpe has had his oeuvre exhibited around the world in more than 200 solo shows, including Paris, Tokyo, Hungary and Australia, just to note a few in 2012.

And now a new home is welcoming his visionary work. This October, two concurrent exhibitions will open at major museums in Los Angeles, including a major retrospective and the edgy photographs from his XYZ Portfolio.

In Focus: Robert Mapplethorpe, at the J. Paul Getty Museum through March 2013, features 23 images showing the full spectrum of his work, stretching across the 1970s and 1980s, from early collages to his last prints: black and white portraits of friends and himself. The comprehensive look follows work before he used a camera and now-iconic photos taken with his Hasselblad 500 camera, a gift from curator Sam Wagstaff, his benefactor and mentor.

At the same time, the Los Angeles County Museum of Art (LACMA) will present Robert Mapplethorpe: XYZ through February 2013. These 39 black-and-white photographs of his X, Y and Z portfolios surround a more specific trio of themes: male African-American nudes, sexy sculpted flowers and his documentation of New York’s S&M scene. Originally published between 1978 and 1981, these raw and striking images show Mapplethorpe’s evolution as a fully contemporary fine-art photographer, depicting homoeroticism in classic poses—but not without controversy.

Mapplethorpe’s provocative work has been renowned for its shock value—of what he called “unexpected” subjects—as much as for his technical mastery. He led the fight during the culture wars of the 1980s as a

symbol for artistic freedom, but no longer are his gallery shows cancelled over obscenity charges. His powerful legacy has been lauded for its expressive detail, transcendent use of light and stylized images of gender, race and sexuality. This pair of exhibitions will now preserve the collection, created over two decades before he died of complications from AIDS at 42.

To signal this celebrated photographer’s position in the art world, these two museums have, for the first time, acquired the massive archive in a collaborative effort.

The secret stash from the Robert Mapplethorpe Foundation is valued at more than $30 million. The collection to be housed at the Getty contains more than 2,000 editioned prints, 200 assemblages and drawings, 120,000 negatives, 6,000 contact sheets, interviews, documents and more artifacts.

Highlights of the current exhibition tell the story of Robert Mapplethorpe’s creative life. It includes silver gelatin photographs, rare mixed-media projects, signature Polaroids, the portrait of his friend and sometime lover, singer-songwriter/author/poet Patti Smith and his own guileless self-portrait. In addition, the Getty Research Institute will present an online gallery of 15 selections from the Robert Mapplethorpe Archive depicting each stage in the artist’s career, from student days to photographic images (www.getty.edu).

Together, the two exhibitions demonstrate “the struggle of a budding artist to find his proper medium of expression and develop his aesthetic vision,” states Paul Martineau, the Getty Museum’s associate curator of photographs, noting the photographic prints illustrate “Mapplethorpe’s mature style as well as his eye for prints of the highest quality and beauty.” Now, this famed New Yorker’s work will be bicoastal.

7 HOLLYWOOD | FALL / WINTER 2012

117

(opposite) WAYNE STAMBLER robert mapplethorpe,(above) robert mapplethorpe, 1987, THE J. PAUL GETTY MUSEUM, LOS ANGELES, jointly acquired by the LOS ANGELES COUNTY MUSEUM OF ART, with funds provided by the DAVID GEFFEN FOUNDATION and the J. PAUL GETTY TRUST. LACMA captions on pictures

ICON forever

double your pleasure:

DUAL MAPPLETHORPE

BY ROBERTA CRUGER

Photographer Robert Mapplethorpe (1946–1989) needs no introduction, but a new home is welcoming his visionary work. As one of the most influential American artists of the late 20th century, Robert Mapplethorpe has had his oeuvre exhibited around the world in more than 200 solo shows, including Paris, Tokyo, Hungary and Australia, just to note a few in 2012.

And now a new home is welcoming his visionary work. This October, two concurrent exhibitions will open at major museums in Los Angeles, including a major retrospective and the edgy photographs from his XYZ Portfolio.

In Focus: Robert Mapplethorpe, at the J. Paul Getty Museum through March 2013, features 23 images showing the full spectrum of his work, stretching across the 1970s and 1980s, from early collages to his last prints: black and white portraits of friends and himself. The comprehensive look follows work before he used a camera and now-iconic photos taken with his Hasselblad 500 camera, a gift from curator Sam Wagstaff, his benefactor and mentor.

At the same time, the Los Angeles County Museum of Art (LACMA) will present Robert Mapplethorpe: XYZ through February 2013. These 39 black-and-white photographs of his X, Y and Z portfolios surround a more specific trio of themes: male African-American nudes, sexy sculpted flowers and his documentation of New York’s S&M scene. Originally published between 1978 and 1981, these raw and striking images show Mapplethorpe’s evolution as a fully contemporary fine-art photographer, depicting homoeroticism in classic poses—but not without controversy.

Mapplethorpe’s provocative work has been renowned for its shock value—of what he called “unexpected” subjects—as much as for his technical mastery. He led the fight during the culture wars of the 1980s as a

symbol for artistic freedom, but no longer are his gallery shows cancelled over obscenity charges. His powerful legacy has been lauded for its expressive detail, transcendent use of light and stylized images of gender, race and sexuality. This pair of exhibitions will now preserve the collection, created over two decades before he died of complications from AIDS at 42.

To signal this celebrated photographer’s position in the art world, these two museums have, for the first time, acquired the massive archive in a collaborative effort.

The secret stash from the Robert Mapplethorpe Foundation is valued at more than $30 million. The collection to be housed at the Getty contains more than 2,000 editioned prints, 200 assemblages and drawings, 120,000 negatives, 6,000 contact sheets, interviews, documents and more artifacts.

Highlights of the current exhibition tell the story of Robert Mapplethorpe’s creative life. It includes silver gelatin photographs, rare mixed-media projects, signature Polaroids, the portrait of his friend and sometime lover, singer-songwriter/author/poet Patti Smith and his own guileless self-portrait. In addition, the Getty Research Institute will present an online gallery of 15 selections from the Robert Mapplethorpe Archive depicting each stage in the artist’s career, from student days to photographic images (www.getty.edu).

Together, the two exhibitions demonstrate “the struggle of a budding artist to find his proper medium of expression and develop his aesthetic vision,” states Paul Martineau, the Getty Museum’s associate curator of photographs, noting the photographic prints illustrate “Mapplethorpe’s mature style as well as his eye for prints of the highest quality and beauty.” Now, this famed New Yorker’s work will be bicoastal.

7 HOLLYWOOD | FALL / WINTER 2012

117

118

7 HOLLYWOOD | FALL / WINTER 2012

photographer ALIX MALKA. stylist LOÏC MASI.emmanuel d'orazio (left) and marc zaffuto (right) wear their own tuxedos; hair LEILA.A/ YUMIKOTO PARIS. grooming ISMAEL BLANCO/AGENCE AURELIEN PARIS. stylist’s assistants MBOKO MOBUTU, TAREK BACHA. hair stylist’s assistant LUCIANO CORCOVADO.

AIDS charity) after-party with none other than former French first lady Carla Bruni.

With a door policy tighter than most of their guests’ looks, Marc and Emmanuel created an environment where the normally rather conservative Parisian party crowd felt free to let loose, wear the latest looks and dance till dawn. The secret to being let in the front door? “Full nudity with amazing shoes and sumptuous hair for girls,” says Emmanuel, “and I guess the same for boys.” Not ready to party in your birthday suit?

Then take it from one who knows: It’s all about preparation. As soon as Marc and Emmanuel come up with each party’s theme (previous ones include Forbidden Fantasies, Wild West and, my personal favorite, Tutti Frutti) everyone in the know and on the VIP guest list hits email, BBM and sometimes the plain old telephone to book la mode’s most innovative makeup artists, hairdressers and stylists to help whip up the ultimate flashbulb-frenzy-inducing look.

A favorite celeb memory among hundreds?

Besides the Demi Moore vs. the Parisian gendarmes mentioned above, Emmanuel recounts a very funny evening with a funny lady (not Barbra). “Gaga was fun; she came just after her performance at the Mugler fashion show. She arrived starving and asked for some pasta. Of course, the venue didn’t have food, so all she got to eat was... champagne! She asked our DJ, Florian Sailer, to play her new track ‘Born This Way.’ When it began, Gaga stood on a table, lip-synched the song and did a real show for the guests, with Terry Richardson shooting at the same time. She has this NYC underground party girl deep inside her.

She felt like family to us.”

Now that they’ve conquered the globe with their unique brand of fashion forward fun, what does the future hold for Marc and Emmanuel?

“We’re FINALLY going to open our restaurant, a dinner theatre-slash-bar-slash-club in Paris in February or March 2013,” says Emmanuel. “It’s going to be FABULOUS! We have been focusing on it for almost two years now. We want this place to have fantastic décor with delicious food and fabulous entertainment.” Marc adds, “We would like to host all our different parties there and also welcome a new generation of parties. We’ll have a stage to show everything we like in entertainment: cabaret acts, music live, exotic and art performance. This is a place for late dinners; a private club—no cameras allowed!”

Of course, in my excitement about this amazing new stop on everyone’s Paris itinerary, I neglected to ask Marc and Emmanuel the most important question: Are they going to serve club sandwiches? ? ?

(clockwise from top left) MARC & RICCARDO TISCI: QUENTIN SAUNIER, GRACE JONES: QUENTIN SAUNIER, EMMANUEL D’ORAZIO (personal archive from CLUB SANDWICH), MARC & RICK: MATHIEU BAUMER

PRIVATE PARTY

By Robert Barr

Remember that genius Detroit house masterpiece, “Sandwiches”? With lyrics like, “I know you wanna do it/You know I wanna do it too/Out here on the dance floor/We can make sandwiches,” it begs the question whether or not the songwriters had Parisian party impresarios and nightlife veterans/event planners Marc Zaffuto and Emmanuel d’Orazio in mind when they wrote the song. Extravagantly eccentric, harkening back to bygone days of bacchanalian Studio 54 brilliance, the oft-disguised duo, known as much for their cuckoo costumes (bunny masks, wild wigs, outré outfits) have managed to create the fashion world’s ultimate place to faire la fête with their signature mix of top designers, industry insiders and uniquely attired unknowns.

They met in Paris “in the early ’90s,” says Emmanuel. “I think we were on Ecstasy.” The duo soon realized that whenever they arrived together, the party started instantly. “The funny thing is,” continues Emmanuel, “the name of our party was decided in Los Angeles at the Mondrian Hotel. We were having a late breakfast after a very underground, fun night in Hollywood, where we decided to create a party in Paris. On the menu of the Mondrian was a ‘CLUB SANDWICH,’ which was ABSOLUTELY a great name: pop, sexy and international.” The proverbial light bulb flickering above his head, Emmanuel announces, “O.M.G., I just realized Club Sandwich was born in Hollywood!”

Tucked on a narrow street behind the Champs Elysees at Club Neo, Marc and Emmanuel’s once-a-month, invitation-only revelry has evolved since its 2005 debut into the ne plus ultra of stylish celebration. “Club Sandwich was a kind of a revolution for the Paris fashion nightlife; nobody was dressing up anymore to go out,” says Marc. “Since 2005, month after month, people were watching our friends dress up, creating their own costumes, cross-dressing, boys wearing high heels, masks and glitter. Glamour and fun were finally back on the dance floor.” Emmanuel explains, “Club Sandwich gave people the energy to express themselves and be the creatures they wanted to be at night.”

Located in a basement with the look of a classique ’70s Paris disco (think Regine’s), the club quickly gained a cult following not only for its diverse crowd but for its impeccably curated mix of tunes, with everything from the latest hits to people’s favorites, from Soft Cell, to Kylie, to the Eurthymics and beyond. Within a few years of Club Sandwich’s opening, it expanded beyond its backstreet locale into venues as divergent as Paris’s Opera Garnier, Milan’s iconic La Scala, Vienna’s City Hall and New York’s Norwood. They’ve even hosted the official Sidaction (a French HIV/

118

7 HOLLYWOOD | FALL / WINTER 2012

photographer ALIX MALKA. stylist LOÏC MASI.emmanuel d'orazio (left) and marc zaffuto (right) wear their own tuxedos; hair LEILA.A/ YUMIKOTO PARIS. grooming ISMAEL BLANCO/AGENCE AURELIEN PARIS. stylist’s assistants MBOKO MOBUTU, TAREK BACHA. hair stylist’s assistant LUCIANO CORCOVADO.

AIDS charity) after-party with none other than former French first lady Carla Bruni.

With a door policy tighter than most of their guests’ looks, Marc and Emmanuel created an environment where the normally rather conservative Parisian party crowd felt free to let loose, wear the latest looks and dance till dawn. The secret to being let in the front door? “Full nudity with amazing shoes and sumptuous hair for girls,” says Emmanuel, “and I guess the same for boys.” Not ready to party in your birthday suit?

Then take it from one who knows: It’s all about preparation. As soon as Marc and Emmanuel come up with each party’s theme (previous ones include Forbidden Fantasies, Wild West and, my personal favorite, Tutti Frutti) everyone in the know and on the VIP guest list hits email, BBM and sometimes the plain old telephone to book la mode’s most innovative makeup artists, hairdressers and stylists to help whip up the ultimate flashbulb-frenzy-inducing look.

A favorite celeb memory among hundreds?

Besides the Demi Moore vs. the Parisian gendarmes mentioned above, Emmanuel recounts a very funny evening with a funny lady (not Barbra). “Gaga was fun; she came just after her performance at the Mugler fashion show. She arrived starving and asked for some pasta. Of course, the venue didn’t have food, so all she got to eat was... champagne! She asked our DJ, Florian Sailer, to play her new track ‘Born This Way.’ When it began, Gaga stood on a table, lip-synched the song and did a real show for the guests, with Terry Richardson shooting at the same time. She has this NYC underground party girl deep inside her.

She felt like family to us.”

Now that they’ve conquered the globe with their unique brand of fashion forward fun, what does the future hold for Marc and Emmanuel?

“We’re FINALLY going to open our restaurant, a dinner theatre-slash-bar-slash-club in Paris in February or March 2013,” says Emmanuel. “It’s going to be FABULOUS! We have been focusing on it for almost two years now. We want this place to have fantastic décor with delicious food and fabulous entertainment.” Marc adds, “We would like to host all our different parties there and also welcome a new generation of parties. We’ll have a stage to show everything we like in entertainment: cabaret acts, music live, exotic and art performance. This is a place for late dinners; a private club—no cameras allowed!”

Of course, in my excitement about this amazing new stop on everyone’s Paris itinerary, I neglected to ask Marc and Emmanuel the most important question: Are they going to serve club sandwiches? ? ?

(clockwise from top left) MARC & RICCARDO TISCI: QUENTIN SAUNIER, GRACE JONES: QUENTIN SAUNIER, EMMANUEL D’ORAZIO (personal archive from CLUB SANDWICH), MARC & RICK: MATHIEU BAUMER

PRIVATE PARTY

By Robert Barr

Remember that genius Detroit house masterpiece, “Sandwiches”? With lyrics like, “I know you wanna do it/You know I wanna do it too/Out here on the dance floor/We can make sandwiches,” it begs the question whether or not the songwriters had Parisian party impresarios and nightlife veterans/event planners Marc Zaffuto and Emmanuel d’Orazio in mind when they wrote the song. Extravagantly eccentric, harkening back to bygone days of bacchanalian Studio 54 brilliance, the oft-disguised duo, known as much for their cuckoo costumes (bunny masks, wild wigs, outré outfits) have managed to create the fashion world’s ultimate place to faire la fête with their signature mix of top designers, industry insiders and uniquely attired unknowns.

They met in Paris “in the early ’90s,” says Emmanuel. “I think we were on Ecstasy.” The duo soon realized that whenever they arrived together, the party started instantly. “The funny thing is,” continues Emmanuel, “the name of our party was decided in Los Angeles at the Mondrian Hotel. We were having a late breakfast after a very underground, fun night in Hollywood, where we decided to create a party in Paris. On the menu of the Mondrian was a ‘CLUB SANDWICH,’ which was ABSOLUTELY a great name: pop, sexy and international.” The proverbial light bulb flickering above his head, Emmanuel announces, “O.M.G., I just realized Club Sandwich was born in Hollywood!”

Tucked on a narrow street behind the Champs Elysees at Club Neo, Marc and Emmanuel’s once-a-month, invitation-only revelry has evolved since its 2005 debut into the ne plus ultra of stylish celebration. “Club Sandwich was a kind of a revolution for the Paris fashion nightlife; nobody was dressing up anymore to go out,” says Marc. “Since 2005, month after month, people were watching our friends dress up, creating their own costumes, cross-dressing, boys wearing high heels, masks and glitter. Glamour and fun were finally back on the dance floor.” Emmanuel explains, “Club Sandwich gave people the energy to express themselves and be the creatures they wanted to be at night.”

Located in a basement with the look of a classique ’70s Paris disco (think Regine’s), the club quickly gained a cult following not only for its diverse crowd but for its impeccably curated mix of tunes, with everything from the latest hits to people’s favorites, from Soft Cell, to Kylie, to the Eurthymics and beyond. Within a few years of Club Sandwich’s opening, it expanded beyond its backstreet locale into venues as divergent as Paris’s Opera Garnier, Milan’s iconic La Scala, Vienna’s City Hall and New York’s Norwood. They’ve even hosted the official Sidaction (a French HIV/

A CENTURY OF FASHION

Photo from DECADE: A CENTURY OF FASHION courtesy of Amanda Friedman

ROSE APOCADA ASKS 7 QUESTIONS

It’s not publicist hyperbole that Cameron Silver is one of fashion’s most influential forces.

This Beverly Hills son went from collecting designer castoffs from thrift stores as he toured the country crooning Weimar-era cabaret to vintage fashion’s high-profile pioneer and champion as the founder of Decades in Los Angeles.

From his Melrose Avenue boutique and, since then, a second shop in London’s Dover Street Market, Silver has provided “inspiration” to major fashion houses worldwide and been at the forefront of making vintage de rigueur on the red carpet. Brands as diverse as Boucheron and Samsonite tap him for brand advice, and his own signature marked a denim capsule line this last year. Major museums call him to curate—as in the case of this year’s Rudi Gernreich retrospective now touring—or to donate from his personal archives. On the brink of a reality show series and with a coffee table tome out now, 7Hollywood’s Rose Apodaca asks 7 Questions: (ROSE APODACA) You opened Decades in 1997, and have joked you named it that without much thought. That it just sounded right. The store name also serves as the structure for your inaugural book, Decades: A Century of Fashion (Bloomsburg, 2012).

You could've taken a dozen different approaches, including focusing on the many actresses and other famous figures who made red carpet history in looks from Decades. Why do it by decade? (CAMERON SILVER) I wanted to create a beautiful book, but my goal was not to do fluff. It had to have some substance. There are enough books out there with pretty pictures, and there are many about vintage. Once we decided to title it Decades, the content and concept all took effect.

This was never going to be a definitive history, it was going to be my history. So even taking the unusual step and writing it in the first person meant jumping hoops with the publishers.

What is your favorite decade, and why? It’s hard to choose one decade, but I tend to be attracted to the 1970s. I love that whole Studio 54 culture.

In some ways, it’s like America’s Weimar period—decadent, progressive yet a precursor to a more conservative period. It’s a very American

decade. This country’s ready-to-wear began to get international recognition; there was great design by Halston, Anne Klein. So much of what happened in the 1970s is relevant today.

Jessica Chastain, Chloë Sevigny, Gwyneth Paltrow… you have personally overseen the look of so many women headed to the Oscars, premieres and other major career-making moments by either working directly with them or with their stylist. You’ve shopped Catherine Deneuve’s closet—I remember well a dress of hers I wore to a gala—and she’s shopped Decades. Share some of your standout moments. For this year’s Academy Awards, I dressed comedian Melissa McCarthy. It was a very special, very creatively fulfilling experience for me. I’m known for vintage, but here I had an opportunity to work with a fashion house to make something new for Melissa. I was hired late into the project and it was 10 days of high stress, especially as it was the same weekend the Rudi Gernreich exhibition I curated for the Museum of Contemporary Art was opening! It was about using my vintage background and knowledge of history. It helped me do something modern, and I’ve always been about modernity.

When you opened Decades, vintage fashion had not yet become the red carpet staple it is now—which it has become thanks in no small part because of your efforts. Still, are you surprised at how it has not only been embraced but become a badge of individual style among women in the worlds of fashion, Hollywood and society? No. The luxury world set it up for us [vintage sellers] because they made everything ubiquitous. They took the luxury out of their industry. Brands have become super-brands. That is why when I consult for brands—whether it’s Bruno Magli, Anne Klein, Pringle or Hermès— it’s about helping them get clarity on their DNA. So it’s no surprise luxury consumers turned to vintage to find something unusual. We’re doing community service!

You've become something of a style icon yourself, from a wardrobe that defies convention and is exuberant for color, pattern and luxury to having an Hermès bag named after you. As someone who makes a living fashioning icons, are you feeling the weight of your current status when you get dressed in the morning?

SEVEN x SEVEN

Decades

If you only saw what I was wearing right now!

I like to play dress-up. I always was into playing dress-up. I don’t want vintage to look costume, per se, but really what we’re all doing every day is putting on costumes. It’s entertainment for me, another means of expression. But I don’t think of myself as a fashion icon. I do think of my collecting of men’s modern and vintage as being socially responsible. Men’s clothing is the next thing of what’s exciting in fashion. I’ve been donating and loaning many of my personal pieces for the major exhibition on menswear being organized at the Los Angeles County Museum of Art. I’m always happy to celebrate clothes.

Your store is such an extension of you and the talented team of personalities there, and the upstairs, in particular, serves as a kind of community salon for your clients. This spring, the rest of the world will get a peak inside your swirl when you, your business partner in Decades Too, Christos Garkinos, and the rest of the party gets its close-up in a new series on Bravo.

Why did you decide to step into the circus that is reality television? I was vulnerable and they caught me on an off day. (Laughs) People have been pitching us for years. I just finally said “yes.” It’s the way it works now, part of building a brand is doing reality TV. There isn’t a stigma anymore.

The content we’ve delivered is both about depth and entertainment. We’re apparently breaking the mold, too. There’s a definite exposure to the fashion world and famous personalities, from Phyllis Diller to Brian Atwood to social figures.

The last year has been an especially teeming period of activity for Cameron Silver, Inc., from launching a capsule denim collection to curating museum shows and this fat book, and in between attending to countless trunk shows, consulting and even personally shopping the closets of women around the world.

What is next? Something very big is brewing. I have lawyers and agents and handlers. It’s hilarious! But that’s what’s involved in developing a brand. I’ve been a creative consultant for so long. I want to be a creative director. I’m enthusiastic about taking Cameron Silver to the next level—before I’m dead. Because, honey, I’m not getting any younger!

7 HOLLYWOOD | FALL / WINTER 2012

121

A CENTURY OF FASHION

Photo from DECADE: A CENTURY OF FASHION courtesy of Amanda Friedman

ROSE APOCADA ASKS 7 QUESTIONS

It’s not publicist hyperbole that Cameron Silver is one of fashion’s most influential forces.

This Beverly Hills son went from collecting designer castoffs from thrift stores as he toured the country crooning Weimar-era cabaret to vintage fashion’s high-profile pioneer and champion as the founder of Decades in Los Angeles.

From his Melrose Avenue boutique and, since then, a second shop in London’s Dover Street Market, Silver has provided “inspiration” to major fashion houses worldwide and been at the forefront of making vintage de rigueur on the red carpet. Brands as diverse as Boucheron and Samsonite tap him for brand advice, and his own signature marked a denim capsule line this last year. Major museums call him to curate—as in the case of this year’s Rudi Gernreich retrospective now touring—or to donate from his personal archives. On the brink of a reality show series and with a coffee table tome out now, 7Hollywood’s Rose Apodaca asks 7 Questions: (ROSE APODACA) You opened Decades in 1997, and have joked you named it that without much thought. That it just sounded right. The store name also serves as the structure for your inaugural book, Decades: A Century of Fashion (Bloomsburg, 2012).

You could've taken a dozen different approaches, including focusing on the many actresses and other famous figures who made red carpet history in looks from Decades. Why do it by decade? (CAMERON SILVER) I wanted to create a beautiful book, but my goal was not to do fluff. It had to have some substance. There are enough books out there with pretty pictures, and there are many about vintage. Once we decided to title it Decades, the content and concept all took effect.

This was never going to be a definitive history, it was going to be my history. So even taking the unusual step and writing it in the first person meant jumping hoops with the publishers.

What is your favorite decade, and why? It’s hard to choose one decade, but I tend to be attracted to the 1970s. I love that whole Studio 54 culture.

In some ways, it’s like America’s Weimar period—decadent, progressive yet a precursor to a more conservative period. It’s a very American

decade. This country’s ready-to-wear began to get international recognition; there was great design by Halston, Anne Klein. So much of what happened in the 1970s is relevant today.

Jessica Chastain, Chloë Sevigny, Gwyneth Paltrow… you have personally overseen the look of so many women headed to the Oscars, premieres and other major career-making moments by either working directly with them or with their stylist. You’ve shopped Catherine Deneuve’s closet—I remember well a dress of hers I wore to a gala—and she’s shopped Decades. Share some of your standout moments. For this year’s Academy Awards, I dressed comedian Melissa McCarthy. It was a very special, very creatively fulfilling experience for me. I’m known for vintage, but here I had an opportunity to work with a fashion house to make something new for Melissa. I was hired late into the project and it was 10 days of high stress, especially as it was the same weekend the Rudi Gernreich exhibition I curated for the Museum of Contemporary Art was opening! It was about using my vintage background and knowledge of history. It helped me do something modern, and I’ve always been about modernity.

When you opened Decades, vintage fashion had not yet become the red carpet staple it is now—which it has become thanks in no small part because of your efforts. Still, are you surprised at how it has not only been embraced but become a badge of individual style among women in the worlds of fashion, Hollywood and society? No. The luxury world set it up for us [vintage sellers] because they made everything ubiquitous. They took the luxury out of their industry. Brands have become super-brands. That is why when I consult for brands—whether it’s Bruno Magli, Anne Klein, Pringle or Hermès— it’s about helping them get clarity on their DNA. So it’s no surprise luxury consumers turned to vintage to find something unusual. We’re doing community service!

You've become something of a style icon yourself, from a wardrobe that defies convention and is exuberant for color, pattern and luxury to having an Hermès bag named after you. As someone who makes a living fashioning icons, are you feeling the weight of your current status when you get dressed in the morning?

SEVEN x SEVEN

Decades

If you only saw what I was wearing right now!

I like to play dress-up. I always was into playing dress-up. I don’t want vintage to look costume, per se, but really what we’re all doing every day is putting on costumes. It’s entertainment for me, another means of expression. But I don’t think of myself as a fashion icon. I do think of my collecting of men’s modern and vintage as being socially responsible. Men’s clothing is the next thing of what’s exciting in fashion. I’ve been donating and loaning many of my personal pieces for the major exhibition on menswear being organized at the Los Angeles County Museum of Art. I’m always happy to celebrate clothes.

Your store is such an extension of you and the talented team of personalities there, and the upstairs, in particular, serves as a kind of community salon for your clients. This spring, the rest of the world will get a peak inside your swirl when you, your business partner in Decades Too, Christos Garkinos, and the rest of the party gets its close-up in a new series on Bravo.

Why did you decide to step into the circus that is reality television? I was vulnerable and they caught me on an off day. (Laughs) People have been pitching us for years. I just finally said “yes.” It’s the way it works now, part of building a brand is doing reality TV. There isn’t a stigma anymore.

The content we’ve delivered is both about depth and entertainment. We’re apparently breaking the mold, too. There’s a definite exposure to the fashion world and famous personalities, from Phyllis Diller to Brian Atwood to social figures.

The last year has been an especially teeming period of activity for Cameron Silver, Inc., from launching a capsule denim collection to curating museum shows and this fat book, and in between attending to countless trunk shows, consulting and even personally shopping the closets of women around the world.

What is next? Something very big is brewing. I have lawyers and agents and handlers. It’s hilarious! But that’s what’s involved in developing a brand. I’ve been a creative consultant for so long. I want to be a creative director. I’m enthusiastic about taking Cameron Silver to the next level—before I’m dead. Because, honey, I’m not getting any younger!

7 HOLLYWOOD | FALL / WINTER 2012

121

Are the Rolling Stones

MICK SLEEPING WITH MICK ON TV, CHICAGO, 1964, by BOB BONIS

SATISFIED YET? “THE STONES GAVE BOB CARTE BLANCHE TO SHOOT WHENEVER AND WHATEVER HE WANTED. IN THE THREE YEARS THAT HE WORKED WITH THEM, 1964 THROUGH 1966, HE TOOK ALMOST 2,700 PHOTOGRAPHS… I THINK HIS PHOTOS ARE TRULY UNIQUE IN THAT THEY SHOW A SIDE OF THE STONES THAT WE, AS FANS, NEVER GOT TO SEE. AS THE STONES TOUR MANAGER, BOB WAS AN INSIDER AND HAD ACCESS THAT VIRTUALLY NO ONE ELSE WAS GRANTED.” LARRY MARION, CURATOR OF THE BOB BONIS ARCHIVE FALL / WINTER 2012 | 7HOLLYWOOD

123

Are the Rolling Stones

MICK SLEEPING WITH MICK ON TV, CHICAGO, 1964, by BOB BONIS

SATISFIED YET? “THE STONES GAVE BOB CARTE BLANCHE TO SHOOT WHENEVER AND WHATEVER HE WANTED. IN THE THREE YEARS THAT HE WORKED WITH THEM, 1964 THROUGH 1966, HE TOOK ALMOST 2,700 PHOTOGRAPHS… I THINK HIS PHOTOS ARE TRULY UNIQUE IN THAT THEY SHOW A SIDE OF THE STONES THAT WE, AS FANS, NEVER GOT TO SEE. AS THE STONES TOUR MANAGER, BOB WAS AN INSIDER AND HAD ACCESS THAT VIRTUALLY NO ONE ELSE WAS GRANTED.” LARRY MARION, CURATOR OF THE BOB BONIS ARCHIVE FALL / WINTER 2012 | 7HOLLYWOOD

123

THE ROLLING STONES recording session for “JUMPIN’ JACK FLASH,” LONDON, 1968, with MICK JAGGER, CHARLIE WATTS, BRIAN JONES AND KEITH RICHARDS,shot by Vogue fashion photographer MICHAEL COOPER (holding the camera).

MICK ON STAGE IN HARTFORD, CONNECTICUT, with flag, 1981, by MARK WEISS. MICK JAGGER with JIMI HENDRIX by EDDIE KRAMER. KEITH RICHARDS with reflection in sunglasses, 1964, by ERIC SWAYNE. MICK as young guy, DE LANE LEA STUDIOS, London, 1963, by GUS CORAL. MICK JAGGER with ANDY WARHOL, Trax Night Club, New York, 1977, by BOB GRUEN.

“Keith Richards turned up quite early one morning. Keith had been out all night and was completely, deliriously off his face.

Keith took my father shopping in a limo.

He would buy one of everything in every color, and also buy the same for my dad. This was a period when they were good friends.”

TOM SWAYNE

Half a century? Unfathomable. Back in 1962, when the Rolling Stones first swaggered onstage, it was clear something extraordinary was at play.

In tight pants, pointy boots and black sweaters, long hair hanging over bedroom eyes—they created reckless, cool and seductive rock that was mysterious and dangerous. And perhaps the last band on Earth expected to last five years—much less five decades.

Less brash and gritty after creating a legacy measured in part by 200 million records sold, the Stones have given fans what we wanted—and what we needed. “The World’s Greatest Rock ’n’ Roll Band” marks their 50th anniversary this year with flashy celebrations, exhibitions, new recordings, a documentary, tour dates and a library of new books. Manhattan’s Museum of Modern Art presents the first-ever retrospective of the Stones’ films. The documentary Crossfire Hurricane arrives in cinemas filled with

unseen historical footage and band commentary. “Doom and Gloom,” the first single from their latest greatest hits album, Grrr!, marks the first new Stones recording in seven years.

Among the volumes of books, including the band’s official The Rolling Stones: 50 and an unauthorized biography of Mick Jagger, it’s Rolling Stones 50 x 20 that illustrates their story with striking intimacy. The visual essay depicts the band’s legendary career from wild times and all-nighters to credibility and maturity. Selected shots include Jagger with Hendrix, Richards in shades, the band backstage, onstage, unguarded and posed—reveal the reason for their timeless and enduring appeal.

With more than 80 photographs of Jagger, Keith Richards, Charlie Watts, the late Brian Jones, former bassist Bill Wyman, Ronnie Wood and others, the collection by 20 of the finest rock photographers, including Gered Mankowitz, Bob Gruen, Fernando Aceves, Jan Olofsson,

Mark Seliger and Claude Gassian, capture rare images from early days, when close access to the band was still possible. These photos chronicle the transformation of this seminal act from sneering young musicians to megastars, annotated with intriguing stories that relate the significance and context of the images.

Rolling Stones 50 x 20 offers an insider’s look at defining moments. In the afterward, Chris Salewicz of NME traces the band’s journey with telling details, including Andy Warhol’s first impression of the act’s allure and the endless controversies, like the cover of the Beggar’s Banquet album. The radical Rolling Stones may be tame by today’s standards, but they still embody the sex, drugs and rock ’n’ roll lifestyle. After all, who else “Moves Like Jagger?”

Their 1964 recording of the song “Not Fade Away” seems prescient today as the Stones continue to roll.

They’re a rock institution—and they’re not done yet.

7 HOLLYWOOD | FALL / WINTER 2012

125

THE ROLLING STONES recording session for “JUMPIN’ JACK FLASH,” LONDON, 1968, with MICK JAGGER, CHARLIE WATTS, BRIAN JONES AND KEITH RICHARDS,shot by Vogue fashion photographer MICHAEL COOPER (holding the camera).

MICK ON STAGE IN HARTFORD, CONNECTICUT, with flag, 1981, by MARK WEISS. MICK JAGGER with JIMI HENDRIX by EDDIE KRAMER. KEITH RICHARDS with reflection in sunglasses, 1964, by ERIC SWAYNE. MICK as young guy, DE LANE LEA STUDIOS, London, 1963, by GUS CORAL. MICK JAGGER with ANDY WARHOL, Trax Night Club, New York, 1977, by BOB GRUEN.

“Keith Richards turned up quite early one morning. Keith had been out all night and was completely, deliriously off his face.

Keith took my father shopping in a limo.

He would buy one of everything in every color, and also buy the same for my dad. This was a period when they were good friends.”

TOM SWAYNE

Half a century? Unfathomable. Back in 1962, when the Rolling Stones first swaggered onstage, it was clear something extraordinary was at play.

In tight pants, pointy boots and black sweaters, long hair hanging over bedroom eyes—they created reckless, cool and seductive rock that was mysterious and dangerous. And perhaps the last band on Earth expected to last five years—much less five decades.

Less brash and gritty after creating a legacy measured in part by 200 million records sold, the Stones have given fans what we wanted—and what we needed. “The World’s Greatest Rock ’n’ Roll Band” marks their 50th anniversary this year with flashy celebrations, exhibitions, new recordings, a documentary, tour dates and a library of new books. Manhattan’s Museum of Modern Art presents the first-ever retrospective of the Stones’ films. The documentary Crossfire Hurricane arrives in cinemas filled with

unseen historical footage and band commentary. “Doom and Gloom,” the first single from their latest greatest hits album, Grrr!, marks the first new Stones recording in seven years.

Among the volumes of books, including the band’s official The Rolling Stones: 50 and an unauthorized biography of Mick Jagger, it’s Rolling Stones 50 x 20 that illustrates their story with striking intimacy. The visual essay depicts the band’s legendary career from wild times and all-nighters to credibility and maturity. Selected shots include Jagger with Hendrix, Richards in shades, the band backstage, onstage, unguarded and posed—reveal the reason for their timeless and enduring appeal.

With more than 80 photographs of Jagger, Keith Richards, Charlie Watts, the late Brian Jones, former bassist Bill Wyman, Ronnie Wood and others, the collection by 20 of the finest rock photographers, including Gered Mankowitz, Bob Gruen, Fernando Aceves, Jan Olofsson,

Mark Seliger and Claude Gassian, capture rare images from early days, when close access to the band was still possible. These photos chronicle the transformation of this seminal act from sneering young musicians to megastars, annotated with intriguing stories that relate the significance and context of the images.

Rolling Stones 50 x 20 offers an insider’s look at defining moments. In the afterward, Chris Salewicz of NME traces the band’s journey with telling details, including Andy Warhol’s first impression of the act’s allure and the endless controversies, like the cover of the Beggar’s Banquet album. The radical Rolling Stones may be tame by today’s standards, but they still embody the sex, drugs and rock ’n’ roll lifestyle. After all, who else “Moves Like Jagger?”

Their 1964 recording of the song “Not Fade Away” seems prescient today as the Stones continue to roll.

They’re a rock institution—and they’re not done yet.

7 HOLLYWOOD | FALL / WINTER 2012

125

TOM SWAYNE, ERIC’S SON

(opposite page) MICK IN FUR COAT, LONDON, 1964, by ERIC SWAYNE, MICK JAGGER (WITH POLAROID CAMERA) ON THE SET OF PERFORMANCE, 1968, shot by BARON WOLMAN

“That was the same coat that Mick wore for his famous portrait taken by David Bailey.

Mick was performing in front of the camera and was helping my dad learn how to take pictures in those early days.”

TOM SWAYNE, ERIC’S SON

(opposite page) MICK IN FUR COAT, LONDON, 1964, by ERIC SWAYNE, MICK JAGGER (WITH POLAROID CAMERA) ON THE SET OF PERFORMANCE, 1968, shot by BARON WOLMAN

“That was the same coat that Mick wore for his famous portrait taken by David Bailey.

Mick was performing in front of the camera and was helping my dad learn how to take pictures in those early days.”

NOEL COWARD and ELIZABETH TAYLOR in a scene from BOOM! (1968). Photo: Bob Penn Courtesy THE COLLECTIONS OF MARGARET HERRICK LIBRARY.

MADE IN HOLLYWOOD...

Three words that instantly signify creativity, inspiration and glamour. No matter where you are on the planet. As the first avant-garde fashion magazine from the world’s dream factory, our goal is to stylishly celebrate larger-than-life icons from the worlds of fashion, cinema, music, art and culture—the billboard-busting personalities who influence the runways from New York to London to Milan and Paris. 7Hollywood is a place where you can discover next-generation supermodel Sigrid Agren’s youthful sophistication, Céline Dion’s new-found sex appeal and Ke$ha’s reinvention as a chic warrior goddess. Of course, we also have Adam Levine’s intrinsic rock ’n’ roll swagger, future red carpet darling Bella Heathcote’s ingénue allure, and last, but definitely not least, a woman whose ageless allure defines the word iconic: Sophia Loren.

Welcome to 7Hollywood, ELIZABETH STEWART Fashion Director

7 HOLLYWOOD | FALL / WINTER 2012

129

NOEL COWARD and ELIZABETH TAYLOR in a scene from BOOM! (1968). Photo: Bob Penn Courtesy THE COLLECTIONS OF MARGARET HERRICK LIBRARY.

MADE IN HOLLYWOOD...

Three words that instantly signify creativity, inspiration and glamour. No matter where you are on the planet. As the first avant-garde fashion magazine from the world’s dream factory, our goal is to stylishly celebrate larger-than-life icons from the worlds of fashion, cinema, music, art and culture—the billboard-busting personalities who influence the runways from New York to London to Milan and Paris. 7Hollywood is a place where you can discover next-generation supermodel Sigrid Agren’s youthful sophistication, Céline Dion’s new-found sex appeal and Ke$ha’s reinvention as a chic warrior goddess. Of course, we also have Adam Levine’s intrinsic rock ’n’ roll swagger, future red carpet darling Bella Heathcote’s ingénue allure, and last, but definitely not least, a woman whose ageless allure defines the word iconic: Sophia Loren.

Welcome to 7Hollywood, ELIZABETH STEWART Fashion Director

7 HOLLYWOOD | FALL / WINTER 2012

129

BELLA

mademoiselle

IT ONLY TOOK 20 MINUTES FOR DARK SHADOWS DIRECTOR TIM BURTON TO KNOW BELLA HEATHCOTE WAS THE ONE TO PLAY VICTORIA WINTERS, JOHNNY DEPP’S LOVE INTEREST IN HIS REMAKE OF THE CAMP CULT CLASSIC.POISED FOR SUPERSTARDOM WITH A LEAD ROLE IN THE SOPRANOS’ CREATOR DAVID CHASE’S MUCH-BUZZED-ABOUT DEBUT FEATURE FILM, NOT FADE AWAY, ABOUT A BAND COMING TOGETHER IN 1964 SUBURBAN NEW JERSEY (IN WHICH SHE ADDS TO HER LIST OF ICONIC LEADING MEN WITH COSTAR JAMES GANDOLFINI AND JACK HUSTON), THE 25-YEAR-OLD AUSTRALIAN ACTRESS, APPEARING IN AN EXCLUSIVE PORTFOLIO FOR 7HOLLYWOOD IN CHANEL’S 2013 CRUISE COLLECTION, IS ABOUT TO BE THE NAME ON EVERYONE’S LIPS. HOLLYWOOD: TAKE NOTE. PHOTOGRAPHER ALIX MALKA STYLIST ELIZABETH STEWART BY ROBERT BARR

CHANEL

CHANEL CRUISE 2013 cotton dress

130

7 HOLLYWOOD | FALL / WINTER 2012

BELLA

mademoiselle

IT ONLY TOOK 20 MINUTES FOR DARK SHADOWS DIRECTOR TIM BURTON TO KNOW BELLA HEATHCOTE WAS THE ONE TO PLAY VICTORIA WINTERS, JOHNNY DEPP’S LOVE INTEREST IN HIS REMAKE OF THE CAMP CULT CLASSIC.POISED FOR SUPERSTARDOM WITH A LEAD ROLE IN THE SOPRANOS’ CREATOR DAVID CHASE’S MUCH-BUZZED-ABOUT DEBUT FEATURE FILM, NOT FADE AWAY, ABOUT A BAND COMING TOGETHER IN 1964 SUBURBAN NEW JERSEY (IN WHICH SHE ADDS TO HER LIST OF ICONIC LEADING MEN WITH COSTAR JAMES GANDOLFINI AND JACK HUSTON), THE 25-YEAR-OLD AUSTRALIAN ACTRESS, APPEARING IN AN EXCLUSIVE PORTFOLIO FOR 7HOLLYWOOD IN CHANEL’S 2013 CRUISE COLLECTION, IS ABOUT TO BE THE NAME ON EVERYONE’S LIPS. HOLLYWOOD: TAKE NOTE. PHOTOGRAPHER ALIX MALKA STYLIST ELIZABETH STEWART BY ROBERT BARR

CHANEL

CHANEL CRUISE 2013 cotton dress

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7 HOLLYWOOD | FALL / WINTER 2012

CHANEL

embroidered jacket. (opposite page) CHANEL CRUISE 2013 skirt, sweater and footwear, CHANEL FINE JEWELRY “PERLES ET NOD” bracelet.

CHANEL

embroidered jacket. (opposite page) CHANEL CRUISE 2013 skirt, sweater and footwear, CHANEL FINE JEWELRY “PERLES ET NOD” bracelet.

ICON tomorrow

“I started [acting] when I was 12. I started taking drama classes; I just kept trying from there.

I just fell in love with it.”

BELLA HEATHCOTE

CHANEL CRUISE 2013

jacket , CHANEL FINE JEWELRY “CAMELIA” ring, CHANEL FINE JEWELRY “PERLES ET SYMBOLS” necklace

Those eyes. Not quite blue, not quite green. They suck you in the moment you lay your (almost certainly less entrancing) eyes on her. If eyes, as they say, are the windows to the soul, then hers must match her name: Bella. Not since the wide-eyed nymphs of Swinging Sixties’ London, girls like Twiggy, Penelope Tree and the woman with whom she bears an uncanny resemblance, Jean Shrimpton has there been an ingénue who can do so much with the smallest of gestures: a glance.

Quite unlike those silent stars of Quant-era London, she is a born actress with charisma to burn. “I started [acting] when I was 12. I started taking drama classes; I just kept trying from there. I just fell in love with it. I thought about being a lawyer for a while. I worked at a law firm, but that’s not what I wanted to do, really. It’s just the one place, you know, where my mind can stop, and it’s the only thing I do where I feel like I’m where I’m meant to be.”

After only eight episodes playing Amanda Fowler on the legendary Australian soap Neighbours (where fellow Down Under darling Kylie Minogue got her start as well), Bella beat 100 other actors to be awarded with the Heath Ledger Scholarship in 2010, which gives promising Australian actors the opportunity to get their foot in Hollywood’s proverbial door with $10,000 cash and Quantas flights to LA. The award is supported by Hugh Jackman, Michelle Williams, Nicole Kidman and Ledger’s family. “I got the scholarship from his family, which was really helpful when I came over here because I didn’t really have anything to differentiate me from all the other Aussies.”

Landing in Hollywood soon after her prize, Bella acquired all the basics of an actress-on-the-rise: an agent, a manager and a small part in the Justin Timberlake and Amanda Seyfried science fiction thriller, In Time. In December 2010, she got the email from her manager that kicked her burgeoning career into overdrive. “It was really weird. I got this email, and I didn’t think anything of it. And then in January 2011, I met with Dick Zanuck and he was talking about Dark Shadows. Then a few weeks later, I flew to London and I auditioned for Tim. The audition lasted about 20 minutes, and two days later, I had the part. I mean, it was probably the least painful audition process I’ve ever been through. I didn’t feel like I nailed it. He gave me a script at the end and asked me to do a voiceover and I just thought, ‘Oh, no,’ and I walked out.”

After a few days rehearsal in London, Bella was on set, acting with the likes of Johnny Depp, Jackie Earle Haley and Michelle Pfeiffer. “It was surreal, really. I went around and saw all the sets and it was overwhelming, and I think my first scenes were with Michelle and Jackie Earle Haley. And I remember Jackie complimenting Michelle on some work that she had done, and I told Michelle, you know, I loved a film she’d done called One Fine Day and Scarface and everything else and she was really endearing.”

Naturally, after a girl’s done a few films with people with last names like Burton, Depp and Timberlake, the red carpet starts calling, shoots at places like Smashbox Studios start getting scheduled and the fashion world starts to take notice. With her Wintour-style

bangs, porcelain complexion and aforementioned eyes, it’s no surprise that Bella’s personal style is beginning to inspire young women around the world. Unlike many other actresses— who, when asked who inspires their look answer Kate or Jackie or Audrey— Bella’s muse is far more personal: her mother, who passed away when Bella was only in middle school. “I grew up thinking that my mom was really stylish. It was like lots of black and white and really classically dressed, a sophisticate look, that’s what I grew up with.”

Bella pauses for a moment, “I just kind of go for whatever makes me feel comfortable. I love the Chanel dress I wore for the [Dark Shadows] premiere here [in Los Angeles] and the Pucci in London.” When I inquire about whispers that the House of Chanel has their “eye” (an eye that helped make Blake Lively into an undisputed fashion icon) on her, Bella laughs and says, “Who knows? I’m definitely interested in them!”

As she prepares for the media swirl surrounding Not Fade Away (chosen as the 2012 New York Film Festival's Centerpiece Gala movie), I ask Bella how it feels to be making the transition from aspiring actress to star. Sounding genuinely ambivalent about the whole thing, she replied, “I guess I’m not absorbing it. You know, I just sort of take it one day at a time… I don’t know, I just—you know, I don’t really think about it. It’s lovely, but I don’t know how to wrap my head around it.” Start letting it soak in, Bella—it’s not every day a star is born.

7 HOLLYWOOD | FALL / WINTER 2012

135

ICON tomorrow

“I started [acting] when I was 12. I started taking drama classes; I just kept trying from there.

I just fell in love with it.”

BELLA HEATHCOTE

CHANEL CRUISE 2013

jacket , CHANEL FINE JEWELRY “CAMELIA” ring, CHANEL FINE JEWELRY “PERLES ET SYMBOLS” necklace

Those eyes. Not quite blue, not quite green. They suck you in the moment you lay your (almost certainly less entrancing) eyes on her. If eyes, as they say, are the windows to the soul, then hers must match her name: Bella. Not since the wide-eyed nymphs of Swinging Sixties’ London, girls like Twiggy, Penelope Tree and the woman with whom she bears an uncanny resemblance, Jean Shrimpton has there been an ingénue who can do so much with the smallest of gestures: a glance.

Quite unlike those silent stars of Quant-era London, she is a born actress with charisma to burn. “I started [acting] when I was 12. I started taking drama classes; I just kept trying from there. I just fell in love with it. I thought about being a lawyer for a while. I worked at a law firm, but that’s not what I wanted to do, really. It’s just the one place, you know, where my mind can stop, and it’s the only thing I do where I feel like I’m where I’m meant to be.”

After only eight episodes playing Amanda Fowler on the legendary Australian soap Neighbours (where fellow Down Under darling Kylie Minogue got her start as well), Bella beat 100 other actors to be awarded with the Heath Ledger Scholarship in 2010, which gives promising Australian actors the opportunity to get their foot in Hollywood’s proverbial door with $10,000 cash and Quantas flights to LA. The award is supported by Hugh Jackman, Michelle Williams, Nicole Kidman and Ledger’s family. “I got the scholarship from his family, which was really helpful when I came over here because I didn’t really have anything to differentiate me from all the other Aussies.”

Landing in Hollywood soon after her prize, Bella acquired all the basics of an actress-on-the-rise: an agent, a manager and a small part in the Justin Timberlake and Amanda Seyfried science fiction thriller, In Time. In December 2010, she got the email from her manager that kicked her burgeoning career into overdrive. “It was really weird. I got this email, and I didn’t think anything of it. And then in January 2011, I met with Dick Zanuck and he was talking about Dark Shadows. Then a few weeks later, I flew to London and I auditioned for Tim. The audition lasted about 20 minutes, and two days later, I had the part. I mean, it was probably the least painful audition process I’ve ever been through. I didn’t feel like I nailed it. He gave me a script at the end and asked me to do a voiceover and I just thought, ‘Oh, no,’ and I walked out.”

After a few days rehearsal in London, Bella was on set, acting with the likes of Johnny Depp, Jackie Earle Haley and Michelle Pfeiffer. “It was surreal, really. I went around and saw all the sets and it was overwhelming, and I think my first scenes were with Michelle and Jackie Earle Haley. And I remember Jackie complimenting Michelle on some work that she had done, and I told Michelle, you know, I loved a film she’d done called One Fine Day and Scarface and everything else and she was really endearing.”

Naturally, after a girl’s done a few films with people with last names like Burton, Depp and Timberlake, the red carpet starts calling, shoots at places like Smashbox Studios start getting scheduled and the fashion world starts to take notice. With her Wintour-style

bangs, porcelain complexion and aforementioned eyes, it’s no surprise that Bella’s personal style is beginning to inspire young women around the world. Unlike many other actresses— who, when asked who inspires their look answer Kate or Jackie or Audrey— Bella’s muse is far more personal: her mother, who passed away when Bella was only in middle school. “I grew up thinking that my mom was really stylish. It was like lots of black and white and really classically dressed, a sophisticate look, that’s what I grew up with.”

Bella pauses for a moment, “I just kind of go for whatever makes me feel comfortable. I love the Chanel dress I wore for the [Dark Shadows] premiere here [in Los Angeles] and the Pucci in London.” When I inquire about whispers that the House of Chanel has their “eye” (an eye that helped make Blake Lively into an undisputed fashion icon) on her, Bella laughs and says, “Who knows? I’m definitely interested in them!”

As she prepares for the media swirl surrounding Not Fade Away (chosen as the 2012 New York Film Festival's Centerpiece Gala movie), I ask Bella how it feels to be making the transition from aspiring actress to star. Sounding genuinely ambivalent about the whole thing, she replied, “I guess I’m not absorbing it. You know, I just sort of take it one day at a time… I don’t know, I just—you know, I don’t really think about it. It’s lovely, but I don’t know how to wrap my head around it.” Start letting it soak in, Bella—it’s not every day a star is born.

7 HOLLYWOOD | FALL / WINTER 2012

135

CHANEL CRUISE 2013

dress, CHANEL FINE JEWELRY “CAMELIA” ring. (opposite page) CHANEL CRUISE 2013 jacket, pants and footwear.

Hair Adir Abergel/Starworks Artists. Makeup Mai Quynh/Starworks Artists. Manicurist Lisa Jachno/Cloutier Remix. Assistant Stylist Katie Bofshever.

Shot At Smashbox Studio.

Capture By Smashbox Digital.

Special Thanks To Brian Medavoy, Elsa Heizmann And Rick

CHANEL CRUISE 2013

dress, CHANEL FINE JEWELRY “CAMELIA” ring. (opposite page) CHANEL CRUISE 2013 jacket, pants and footwear.

Hair Adir Abergel/Starworks Artists. Makeup Mai Quynh/Starworks Artists. Manicurist Lisa Jachno/Cloutier Remix. Assistant Stylist Katie Bofshever.

Shot At Smashbox Studio.

Capture By Smashbox Digital.

Special Thanks To Brian Medavoy, Elsa Heizmann And Rick

CHANEL CRUISE 2013

jacket, CHANEL FINE JEWELRY “SAN MARCO” cuff and “SAN MARCO BAROQUE” cuff, CHANEL FINE JEWELRY “GEODE” stud earrings and ring. (opposite page) CHANEL CRUISE 2013 dress,CHANEL CRUISE 2013 necklace

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7 HOLLYWOOD | FALL / WINTER 2012

CHANEL CRUISE 2013

jacket, CHANEL FINE JEWELRY “SAN MARCO” cuff and “SAN MARCO BAROQUE” cuff, CHANEL FINE JEWELRY “GEODE” stud earrings and ring. (opposite page) CHANEL CRUISE 2013 dress,CHANEL CRUISE 2013 necklace

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7 HOLLYWOOD | FALL / WINTER 2012

140 7 HOLLYWOOD | FALL / WINTER 2012 LINDA RONSTADT/LIVING IN THE USA (Asylum, 1978) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

140 7 HOLLYWOOD | FALL / WINTER 2012 LINDA RONSTADT/LIVING IN THE USA (Asylum, 1978) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

NOW AND FOREVER

ICON today

IN AN EXCLUSIVE AND RARE TURN IN FRONT OF THE LENS, THE INCOMPARABLE SOPHIA LOREN PROVES, ONCE AGAIN, THAT THEY DON’T MAKE THEM LIKE HER ANYMORE. SIX DECADES INTO AN UNPARALLELED CAREER (WHO ELSE ON PLANET EARTH HAS BEEN DIRECTED BY DE SICA, KISSED CARY GRANT AND SHARED A STAGE WITH NICOLE KIDMAN?) ROME’S GREATEST GIFT TO THE WORLD SINCE THE LATIN ALPHABET STILL HAS THE POWER TO ENCHANT, ENTRANCE AND ENRAPTURE VIEWERS WITH HER UNIQUE BEAUTY, SINGULAR TALENT AND UNMISTAKABLE STRENGTH. PHOTOGRAPER ALIX MALKA STYLIST BARBARA BAUMEL BY ROBERT BARR

GIORGIO ARMANI

trench, AZZEDINE ALAÏA gloves

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7 HOLLYWOOD | FALL / WINTER 2012

NOW AND FOREVER

ICON today

IN AN EXCLUSIVE AND RARE TURN IN FRONT OF THE LENS, THE INCOMPARABLE SOPHIA LOREN PROVES, ONCE AGAIN, THAT THEY DON’T MAKE THEM LIKE HER ANYMORE. SIX DECADES INTO AN UNPARALLELED CAREER (WHO ELSE ON PLANET EARTH HAS BEEN DIRECTED BY DE SICA, KISSED CARY GRANT AND SHARED A STAGE WITH NICOLE KIDMAN?) ROME’S GREATEST GIFT TO THE WORLD SINCE THE LATIN ALPHABET STILL HAS THE POWER TO ENCHANT, ENTRANCE AND ENRAPTURE VIEWERS WITH HER UNIQUE BEAUTY, SINGULAR TALENT AND UNMISTAKABLE STRENGTH. PHOTOGRAPER ALIX MALKA STYLIST BARBARA BAUMEL BY ROBERT BARR

GIORGIO ARMANI

trench, AZZEDINE ALAÏA gloves

142

7 HOLLYWOOD | FALL / WINTER 2012

“Beauty is how you feel inside, and it reflects in your eyes.

It is not something physical.”

SOPHIA LOREN

GIORGIO turtleneck ARMANI

AZZEDINE ALAÏA gloves, HERMES bracelet, SWAROVSKI ring (opposite) GIORGIO ARMANI turtlneck, pants and cape, AZZEDINE ALAÏA belt, GIORGIO ARMANI footwear

“Beauty is how you feel inside, and it reflects in your eyes.

It is not something physical.”

SOPHIA LOREN

GIORGIO turtleneck ARMANI

AZZEDINE ALAÏA gloves, HERMES bracelet, SWAROVSKI ring (opposite) GIORGIO ARMANI turtlneck, pants and cape, AZZEDINE ALAÏA belt, GIORGIO ARMANI footwear

GIORGIO ARMANI top ALEXANDRE Vauthier Accessories.

Face Studio Sculpt SPF15 Foundation Eyes Eye Shadow In Carbon Penultimate Eye Liner Brows Eye Brows In Strut Lashes #2 Lash M·a·c Haute & Naughty Too Black Lash

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7 HOLLYWOOD | FALL / WINTER 2012

GIORGIO ARMANI top ALEXANDRE Vauthier Accessories.

Face Studio Sculpt SPF15 Foundation Eyes Eye Shadow In Carbon Penultimate Eye Liner Brows Eye Brows In Strut Lashes #2 Lash M·a·c Haute & Naughty Too Black Lash

146

7 HOLLYWOOD | FALL / WINTER 2012

ICON today

“The church is opposed to cloning, but an exception might be made in the case of Sophia Loren.”

CARDINAL TARCISIO BERTONE

Vatican Secretary of State

Style. Sin. Sophia. She is the physical embodiment of a millenniums-old culture, as Italian as pizza, Parmesan and Pisa, a name that will go down in history among its greatest icons—Leonardo, Lampedusa, Loren. She is a national monument, but she is also flesh and blood, a daughter, sister, mother and grandmother. But then again, the paradox: Yes, she’s a mama and wife, but how many grandmothers can paste the following statement by no less an expert on female glamour than Richard Burton in their proverbial scrapbook: “Beautiful brown eyes, set in a marvelously vulpine, almost satanic, face—as beautiful as an erotic dream.” (I’m blushing and he’s not even talking about me.)

From her debut at the age of 16 as an extra in Mervyn LeRoy's 1951 film Quo Vadis to her most recent turn on the silver screen as Daniel Day-Lewis’s mother in Rob Marshall’s 2009 film adaptation of the Fellini-inspired Nine, Loren’s filmography is a testament to cinema’s unrivaled ability to transform. A poor girl from Pozzuoli named Sofia Villani Scicolone is now Sophia Loren, aristocratic grande dame of an exquisite villa full of a lifetime’s treasures (Oscars, Golden Globes, Lion d’Or, family photos…) in one of the world’s chicest enclaves: Geneva. Hers is one of the faces that in 1,000 years will define, like the bust of Nefertiti does for our contemporary eyes when we think of Pharaonic Egypt, the personification of 20th century feminine elegance, refinement and glamour. She is a lethal combination of the mama and the mistress, the Virgin Mary and Mary Magdalene all rolled up in one woman every man wants, and

148

7 HOLLYWOOD | FALL / WINTER 2012

who, simultaneously, all women admire. Of course, Sophia, the woman who has spent her whole life being looked at, sees it all differently.

She was famously quoted as saying, “Beauty is how you feel inside, and it reflects in your eyes.

It is not something physical.”

Much has been made of the hardship of Sophia’s war-ravaged childhood and its influence on her work, especially in her career-defining, Academy Award-winning performance in De Sica’s 1960 masterpiece, Two Women (the first and only Oscar for an actress in a non-English-speaking role until Marion Cotillard won for Edith Piaf in 2007). Yes, Sophia grew up poor. Yes, she was born out of wedlock. However, her triumph, her genius, was to take her misfortunes and translate them into art. “It is not luck,” she has said, “I don’t believe in luck.

It is wanting that counts. I have always wanted.

That is the secret of me. Even as a child from a poor family whose mother was not married to my father I wanted and I got. I did not want— ever—for others to get for me. I pay, not just in money, but in suffering and pain and anxiety for what I have achieved.”

Professional to a fault, Mrs. Loren was on set in Zurich by 6 a.m. for her 7Hollywood shoot after having stayed up until 4 watching the Academy Awards live from Los Angeles.

Bursting with her inimitably Italian gioia di vivere, Mrs. Loren did her own maquillage, “I’ve been doing my own makeup since I was 20,” she purred. Her face done by 7, her old friend and hairstylist Peter Savic had her hair finished by 7:30 and she was on set at 8, her dancer’s posture better than most women a quarter of

her age. Lunch? No drama, Sophia suggested someone run around the corner for pizza. “I knew the actress, the fabulous iconic beauty,” explains photographer Alix Malka, “but I discovered a lovely woman with so much elegance and a big heart. She had a great sense of humor on set; I was impressed that she was so charming. It was a dream come true.”

Despite her comically campy turn in Robert Altman’s fashion industry satire Prêt-à-Porter as Isabella de la Fontaine, the big-hatted and even bigger-bowed widow of Jean-Pierre Casel’s character, when it comes to her real life, Sophia’s taste runs the simple and streamlined.

A woman whose face has launched as many fashion magazine covers as Helen of Troy did ships, Sophia is usually in the designs of her close friend Giorgio Armani. Not only did Signor Armani contribute to the “Scicolone, Lazzaro, Loren” exhibit in 2006, the vast majority of outfits worn by Sophia over the past few decades (and in the portfolio that accompanies this story) have been designed by the Milanese master. Sophia was once quoted in WWD as saying, “When you dress in Armani, you can be sure you’ll never look like a Christmas tree.” So, what’s the secret to her timeless appeal? Only Sophia can say for sure. Perhaps Mick Jagger and Keith Richards summed her up best with their 1972 song “Pass the Wine (Sophia Loren)”: “I’m glad to be alive and kicking/I’m glad to hear my heart’s still ticking /So pass me the wine, baby, and let’s make some love.”

Hair PETER SAVIC/ SOLO ARTISTS Makeup ALICE GHENDRIH/ ARTLIST NY. On hair GARNIER FRUCTIS STYLE VOLUMIZING ANTI-HUMIDITY HAIRSPRAY. On face ALL COSMETICS COURTESY OF M·A·C COSMETICS. Special thanks to MATT SEVERSON, JEANIE BRAUN, H AND K MONIQUE, MICHA KOUZNETZ OF SEVERSON, JEANIE BRAUN, H AND K MONIQUE, MICHA KOUZNETZOF

ICON today

“The church is opposed to cloning, but an exception might be made in the case of Sophia Loren.”

CARDINAL TARCISIO BERTONE

Vatican Secretary of State

Style. Sin. Sophia. She is the physical embodiment of a millenniums-old culture, as Italian as pizza, Parmesan and Pisa, a name that will go down in history among its greatest icons—Leonardo, Lampedusa, Loren. She is a national monument, but she is also flesh and blood, a daughter, sister, mother and grandmother. But then again, the paradox: Yes, she’s a mama and wife, but how many grandmothers can paste the following statement by no less an expert on female glamour than Richard Burton in their proverbial scrapbook: “Beautiful brown eyes, set in a marvelously vulpine, almost satanic, face—as beautiful as an erotic dream.” (I’m blushing and he’s not even talking about me.)

From her debut at the age of 16 as an extra in Mervyn LeRoy's 1951 film Quo Vadis to her most recent turn on the silver screen as Daniel Day-Lewis’s mother in Rob Marshall’s 2009 film adaptation of the Fellini-inspired Nine, Loren’s filmography is a testament to cinema’s unrivaled ability to transform. A poor girl from Pozzuoli named Sofia Villani Scicolone is now Sophia Loren, aristocratic grande dame of an exquisite villa full of a lifetime’s treasures (Oscars, Golden Globes, Lion d’Or, family photos…) in one of the world’s chicest enclaves: Geneva. Hers is one of the faces that in 1,000 years will define, like the bust of Nefertiti does for our contemporary eyes when we think of Pharaonic Egypt, the personification of 20th century feminine elegance, refinement and glamour. She is a lethal combination of the mama and the mistress, the Virgin Mary and Mary Magdalene all rolled up in one woman every man wants, and

148

7 HOLLYWOOD | FALL / WINTER 2012

who, simultaneously, all women admire. Of course, Sophia, the woman who has spent her whole life being looked at, sees it all differently.

She was famously quoted as saying, “Beauty is how you feel inside, and it reflects in your eyes.

It is not something physical.”

Much has been made of the hardship of Sophia’s war-ravaged childhood and its influence on her work, especially in her career-defining, Academy Award-winning performance in De Sica’s 1960 masterpiece, Two Women (the first and only Oscar for an actress in a non-English-speaking role until Marion Cotillard won for Edith Piaf in 2007). Yes, Sophia grew up poor. Yes, she was born out of wedlock. However, her triumph, her genius, was to take her misfortunes and translate them into art. “It is not luck,” she has said, “I don’t believe in luck.

It is wanting that counts. I have always wanted.

That is the secret of me. Even as a child from a poor family whose mother was not married to my father I wanted and I got. I did not want— ever—for others to get for me. I pay, not just in money, but in suffering and pain and anxiety for what I have achieved.”

Professional to a fault, Mrs. Loren was on set in Zurich by 6 a.m. for her 7Hollywood shoot after having stayed up until 4 watching the Academy Awards live from Los Angeles.

Bursting with her inimitably Italian gioia di vivere, Mrs. Loren did her own maquillage, “I’ve been doing my own makeup since I was 20,” she purred. Her face done by 7, her old friend and hairstylist Peter Savic had her hair finished by 7:30 and she was on set at 8, her dancer’s posture better than most women a quarter of

her age. Lunch? No drama, Sophia suggested someone run around the corner for pizza. “I knew the actress, the fabulous iconic beauty,” explains photographer Alix Malka, “but I discovered a lovely woman with so much elegance and a big heart. She had a great sense of humor on set; I was impressed that she was so charming. It was a dream come true.”

Despite her comically campy turn in Robert Altman’s fashion industry satire Prêt-à-Porter as Isabella de la Fontaine, the big-hatted and even bigger-bowed widow of Jean-Pierre Casel’s character, when it comes to her real life, Sophia’s taste runs the simple and streamlined.

A woman whose face has launched as many fashion magazine covers as Helen of Troy did ships, Sophia is usually in the designs of her close friend Giorgio Armani. Not only did Signor Armani contribute to the “Scicolone, Lazzaro, Loren” exhibit in 2006, the vast majority of outfits worn by Sophia over the past few decades (and in the portfolio that accompanies this story) have been designed by the Milanese master. Sophia was once quoted in WWD as saying, “When you dress in Armani, you can be sure you’ll never look like a Christmas tree.” So, what’s the secret to her timeless appeal? Only Sophia can say for sure. Perhaps Mick Jagger and Keith Richards summed her up best with their 1972 song “Pass the Wine (Sophia Loren)”: “I’m glad to be alive and kicking/I’m glad to hear my heart’s still ticking /So pass me the wine, baby, and let’s make some love.”

Hair PETER SAVIC/ SOLO ARTISTS Makeup ALICE GHENDRIH/ ARTLIST NY. On hair GARNIER FRUCTIS STYLE VOLUMIZING ANTI-HUMIDITY HAIRSPRAY. On face ALL COSMETICS COURTESY OF M·A·C COSMETICS. Special thanks to MATT SEVERSON, JEANIE BRAUN, H AND K MONIQUE, MICHA KOUZNETZ OF SEVERSON, JEANIE BRAUN, H AND K MONIQUE, MICHA KOUZNETZOF

GLAMORAMA

TOM FORD

TOM FORD: ICONIC CREATOR OF A UNIQUE FASHION UNIVERSE. THE LEGENDARY DESIGNER PRODUCED YET ANOTHER GALAXY OF GLAMOUR WITH HIS CONFIDENTLY SEDUCTIVE FALL/WINTER 2012 COLLECTION, MODELED EXCLUSIVELY FOR 7HOLLYWOOD BY ONE OF HIS FAVORITE MODELS, MIRTE MAAS. WITH A NEW RANGE OF FIFTIES-INSPIRED EYEWEAR SET TO DEBUT AND A WHOLE WORLD WAITING TO SEE THE NEXT CINEMATIC OEUVRE FROM THIS DIRECTOR/WRITER OF AN ACADEMY AWARD-NOMINATED FILM, THE WORLD REMAINS, AS EVER, MR. FORD’S. PHOTOGRAPHER ELIE WIZMAN STYLIST ZANNA ROBERTS RASSI

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7 HOLLYWOOD | FALL / WINTER 2012

GLAMORAMA

TOM FORD

TOM FORD: ICONIC CREATOR OF A UNIQUE FASHION UNIVERSE. THE LEGENDARY DESIGNER PRODUCED YET ANOTHER GALAXY OF GLAMOUR WITH HIS CONFIDENTLY SEDUCTIVE FALL/WINTER 2012 COLLECTION, MODELED EXCLUSIVELY FOR 7HOLLYWOOD BY ONE OF HIS FAVORITE MODELS, MIRTE MAAS. WITH A NEW RANGE OF FIFTIES-INSPIRED EYEWEAR SET TO DEBUT AND A WHOLE WORLD WAITING TO SEE THE NEXT CINEMATIC OEUVRE FROM THIS DIRECTOR/WRITER OF AN ACADEMY AWARD-NOMINATED FILM, THE WORLD REMAINS, AS EVER, MR. FORD’S. PHOTOGRAPHER ELIE WIZMAN STYLIST ZANNA ROBERTS RASSI

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7 HOLLYWOOD | FALL / WINTER 2012

TOM FORD

black mesh/velvet long sleeve dress, gold and black oval belt, gold choker with velvet tie, gold cuff and footwear (previous page) TOM FORD gold sequin dress, gold cuff and handbag. on lips TOM FORD beauty lip color aphrodisiac (opposite page) TOM FORD blue fur trench coat, eyewear, handbag and footwear, AGENT PROVOCATEUR garter belt, FALKE hold-up tights.

TOM FORD

black mesh/velvet long sleeve dress, gold and black oval belt, gold choker with velvet tie, gold cuff and footwear (previous page) TOM FORD gold sequin dress, gold cuff and handbag. on lips TOM FORD beauty lip color aphrodisiac (opposite page) TOM FORD blue fur trench coat, eyewear, handbag and footwear, AGENT PROVOCATEUR garter belt, FALKE hold-up tights.

TOM FORD

black cape, gold choker with velvet tie and gold oval belt. fragrance TOM FORD PRIVATE BLEND 'NEROLI PORTOFINO' eau de parfum

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7 HOLLYWOOD | FALL / WINTER 2012

TOM FORD

black cape, gold choker with velvet tie and gold oval belt. fragrance TOM FORD PRIVATE BLEND 'NEROLI PORTOFINO' eau de parfum

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TOM FORD (opposite page) black and

white feather/mesh dress, black and white fur jacket, gold choker with velvet tie and gold cuff (this page) TOM FORD long sleeve dress, gold cuff and footwear

TOM FORD (opposite page) black and

white feather/mesh dress, black and white fur jacket, gold choker with velvet tie and gold cuff (this page) TOM FORD long sleeve dress, gold cuff and footwear

TOM FORD

TOM FORD long sleeve backless dress and gold wire/ rope choker, FALKE tights

Model Mirte Maas/Women Model Management. Hair Yoichi Tomizawa/Art Department. Makeup Chris Colbeck/Art Department.

Manicurist Fleury/ Artists By Timothy Priano.

Stylist’s Assistant Natalie Scicolone. Retouching 2Db Creative. Producer Nathalie Akiya/Kranky Produktions. Shot At Milk Studios, New York. Digital Capture Milk Studios.

Special Thanks To Diane Suarez

TOM FORD

TOM FORD long sleeve backless dress and gold wire/ rope choker, FALKE tights

Model Mirte Maas/Women Model Management. Hair Yoichi Tomizawa/Art Department. Makeup Chris Colbeck/Art Department.

Manicurist Fleury/ Artists By Timothy Priano.

Stylist’s Assistant Natalie Scicolone. Retouching 2Db Creative. Producer Nathalie Akiya/Kranky Produktions. Shot At Milk Studios, New York. Digital Capture Milk Studios.

Special Thanks To Diane Suarez

“A little bad taste is like a nice splash of paprika.

We all need a splash of bad taste—it’s hearty, it’s healthy, it’s physical.

I think we could use more of it.

No taste is what i’m against.”

DIANA VREELAND

the

PORTRAIT OF DIANA VREELAND IN VOGUE OFFICE (1965), By James Karales, Courtesy Of Estate Of James P. Karales

VISIONARY

160

7 HOLLYWOOD | FALL / WINTER 2012

Here’s a thought: Why don’t you buy this DVD? While you’re watching it (wearing your sweater back-to-front; it is so much more flattering), perhaps your child could be washing their blonde hair in flat champagne? Quite possibly the most delicious, dazzling and divine fashion documentary ever made, written and directed by Lisa Immordino Vreeland (the wife of a Vreeland grandson, Alexander), this trip of a film transports us all the way from Diana Dalziel’s birth in Belle Époque Paris to her quarter-century at Harper’s Bazaar, her imperial reign at Vogue, her metamorphosis into curator nonpareil at the Metropolitan Museum of Art’s Costume Institute and to her death as the undisputed doyenne of global style in 1989 New York City. Along the way, we hear from her sons, Tim and Frederick; Manolo Blahnik; former assistant Ali McGraw; Veruschka; Joel Schumacher; Anjelica Huston; and a host of other luminaries from the worlds of fashion, art and culture. Intimate and inviting, we see D.V. at her best, seated in her “Garden in Hell” (living room), red lips sucking on cigarettes, hair as shiny as onyx, cheeks rouged to the apex of Kabuki glamour. But we also see what made Mrs. Vreeland the definition of a fashion editor: the work. Cover after cover, spread after spread, shoot after shoot, we see her creativity, her impeccable eye and her revolutionary idea that fashion was an integral ingredient of the cultural conversation instead of a rarified ivory tower dictating hem lengths every six months. They sure don’t make ’em like her anymore.

Diana Vreeland: The Eye Has to Travel from Samuel Goldwyn Films releases on DVD February 5, 2013.

“A little bad taste is like a nice splash of paprika.

We all need a splash of bad taste—it’s hearty, it’s healthy, it’s physical.

I think we could use more of it.

No taste is what i’m against.”

DIANA VREELAND

the

PORTRAIT OF DIANA VREELAND IN VOGUE OFFICE (1965), By James Karales, Courtesy Of Estate Of James P. Karales

VISIONARY

160

7 HOLLYWOOD | FALL / WINTER 2012

Here’s a thought: Why don’t you buy this DVD? While you’re watching it (wearing your sweater back-to-front; it is so much more flattering), perhaps your child could be washing their blonde hair in flat champagne? Quite possibly the most delicious, dazzling and divine fashion documentary ever made, written and directed by Lisa Immordino Vreeland (the wife of a Vreeland grandson, Alexander), this trip of a film transports us all the way from Diana Dalziel’s birth in Belle Époque Paris to her quarter-century at Harper’s Bazaar, her imperial reign at Vogue, her metamorphosis into curator nonpareil at the Metropolitan Museum of Art’s Costume Institute and to her death as the undisputed doyenne of global style in 1989 New York City. Along the way, we hear from her sons, Tim and Frederick; Manolo Blahnik; former assistant Ali McGraw; Veruschka; Joel Schumacher; Anjelica Huston; and a host of other luminaries from the worlds of fashion, art and culture. Intimate and inviting, we see D.V. at her best, seated in her “Garden in Hell” (living room), red lips sucking on cigarettes, hair as shiny as onyx, cheeks rouged to the apex of Kabuki glamour. But we also see what made Mrs. Vreeland the definition of a fashion editor: the work. Cover after cover, spread after spread, shoot after shoot, we see her creativity, her impeccable eye and her revolutionary idea that fashion was an integral ingredient of the cultural conversation instead of a rarified ivory tower dictating hem lengths every six months. They sure don’t make ’em like her anymore.

Diana Vreeland: The Eye Has to Travel from Samuel Goldwyn Films releases on DVD February 5, 2013.

Wanted

MAN

AFTER SPENDING THE LAST TWO SEASONS AS A JUDGE ON THE NO. 1 SMASH HIT THE VOICE, AND WITH A ROLE ON FX’S AMERICAN HORROR STORY, MAROON 5’S ADAM LEVINE IS SHOWING THAT HE’S MORE THAN JUST A PRETTY SET OF PIPES. WITH THE ALBUM OVEREXPOSED DEBUTING AT NO. 3 ON THE CHARTS THIS YEAR AND A NEW UNTITLED ALBUM ALREADY IN THE WORKS, THE M5 FRONT MAN IS OUT TO PROVE THAT ROCK ’N’ ROLL IS ALIVE AND WELL IN THE 21ST CENTURY.PHOTOGRAPHER ALIX MALKA ARTWORK NIGEL ZEFF STYLIST KATERINA MUKHINA BY JAKE SAVAGE

7 HOLLYWOOD | FALL / WINTER 2012

163

Wanted

MAN

AFTER SPENDING THE LAST TWO SEASONS AS A JUDGE ON THE NO. 1 SMASH HIT THE VOICE, AND WITH A ROLE ON FX’S AMERICAN HORROR STORY, MAROON 5’S ADAM LEVINE IS SHOWING THAT HE’S MORE THAN JUST A PRETTY SET OF PIPES. WITH THE ALBUM OVEREXPOSED DEBUTING AT NO. 3 ON THE CHARTS THIS YEAR AND A NEW UNTITLED ALBUM ALREADY IN THE WORKS, THE M5 FRONT MAN IS OUT TO PROVE THAT ROCK ’N’ ROLL IS ALIVE AND WELL IN THE 21ST CENTURY.PHOTOGRAPHER ALIX MALKA ARTWORK NIGEL ZEFF STYLIST KATERINA MUKHINA BY JAKE SAVAGE

7 HOLLYWOOD | FALL / WINTER 2012

163

ICON today

“All those fairy tales are full of shit.

One more stupid love song, I’l be sick.”

ADAM LEVINE

BURBERRY

jacket, LEVI'S jeans, MEN BURBERRY cologne

There was a time from about the mid-70s to the early ’90s when being a rock star meant trying to be as outrageous and destructive as possible.

Destroying hotel rooms, bedding supermodels mid-concert, and doing ridiculous amounts of drugs were all considered de rigueur on the rock scene. The crazier, the better, so Jim Morrison exposing himself onstage and Ozzie Osborne biting the heads off not one but TWO animals have earned these rascally rockers an honored place in the pantheon of legendary mischief-makers—right up there with Keith Richards and Bigfoot.

Over the years, though, things (as they always do) changed. Gone are the days of Axl Rose throwing beer bottles at fans and refusing to perform—hell, gone are the days of Axl Rose, period. I doubt PETA would even let Ozzie within two counties of an animal now, and Morrison was forced to spend the last of his days living in exile. Rock is no longer the music of rebellion; it grew up and became big business. Today’s rock star is an endangered animal, trying to survive in a world where DJs and dubstep have replaced guitarists and punk.

Just don’t tell that to Adam Levine.

The Maroon 5 vocalist has been leading a one-man crusade to bring the rock star lifestyle into the 21st century, whether it’s performing concerts in sold-out stadiums or hosting epic parties with A-list guests.

Born and raised in Los Angeles, Levine’s journey into rock began at Brentwood School, where he and fellow classmates Jesse Carmichael, Mickey Madden and Ryan Dusick formed the band Kara’s Flowers. After a few local shows, Reprise Records took notice of the quartet and signed them. Their debut album, The Fourth World, was released in 1997. Despite the band snaring a guest spot on the classic television show 90210, the album—along with the single “Soap Disco”—failed to catch on. Soon after, Reprise released the members of Kara’s Flowers, and the bandmates went their separate ways.

The members were faced with a major dilemma: keep trying to make it in music or throw in the towel and head off to college? Fortunately, after a brief hiatus and some soul searching, they decided to give it one more shot. While performing a showcase at the infamous Viper Room, they were spotted by Octone’s Ben Berkman.

The record exec immediately saw their potential and brought fifth bandmate James Valentine on board so Levine could focus solely on singing, giving the newly minted Maroon 5 what they’d been sorely lacking—a charismatic front man.

Success, however, didn’t come easily for the singer or the band. When Maroon 5 released Songs About Jane in 2002, no one had any idea what was ahead. The record sold modestly at first, with the band touring almost constantly in support of its release. It wasn’t until 2003, when John Mayer asked the band to open for him on his tour that things really started to pick up. In 2004, Songs About Jane exploded, reaching No. 6 on the charts. Over two years passed since the album’s release, earning the record a record of its own: the longest time period between an album’s debut to its appearance in Billboard’s Top Ten. Fast-forward almost a decade later, and both Maroon 5 and Adam Levine are seemingly larger than life. With over 17 million albums sold, a No. 1 song in “Moves Like Jagger” and a No. 1 TV show in The Voice, it’s no wonder why Levine has become such a household name.

It’s also no wonder why Levine has been linked to some of the most beautiful women in the world. The self-proclaimed ladies man isn’t shy about his conquests, and he’s been seen stepping out with the likes of Lindsay Lohan, Maria Sharipova and swimsuit model Anne Vyalitsyna. Like any good rock star, he never has a shortage of high- profile arm candy, and with the amount of success he’s continued to have in his professional life, it doesn’t look like it’s going to stop anytime soon.

In the past, someone might look at Levine’s gig

on The Voice and call it selling out or say that it’s not rock ’n’ roll, but the truth is that once Ozzie and Sharon got a house in Beverly Hills and a camera crew to follow them around, doing this kind of thing became not just acceptable, it became good business. Every week that Adam occupies that big red chair is another week Maroon 5 is being talked about, which translates into more records sold. The face of a band should always be bringing attention to his group. In the past, he’d have to do something like throw a chair out a window; now, it’s better to be sitting in a chair on your own TV show.

While it’s easy to argue that Levine’s main purpose on The Voice is to bait in female viewers (and from the ratings, he’s doing a damn good job), he offers something more. The truth is, the M5 singer knows his stuff. Listening to him is like attending Music Business 101. It’s easy to forget just how much Levine and his bandmates struggled to get where they are today. Adam clearly remembers, and he’s able to connect with the contestants in a way that doesn’t come off as fake or arrogant.

Any musician worth his salt is going to throw some wild parties, and Levine is no different.

Each year, his annual Halloween party only seems to get bigger, with more and more celebrities showing up to show off in costume. Needless to say, it’s one of the most coveted invites in all of Los Angeles, and if you can get on the guest list, chances are you’re never going to look at parties the same way again.

Things have come a long way since those early days of rock, and while singers may not be eating live animals onstage or showing off their natural endowment to thousands of fans, it doesn’t mean spirit of the rock star is dead.

Just ask Adam Levine.

7 HOLLYWOOD | FALL / WINTER 2012

165

ICON today

“All those fairy tales are full of shit.

One more stupid love song, I’l be sick.”

ADAM LEVINE

BURBERRY

jacket, LEVI'S jeans, MEN BURBERRY cologne

There was a time from about the mid-70s to the early ’90s when being a rock star meant trying to be as outrageous and destructive as possible.

Destroying hotel rooms, bedding supermodels mid-concert, and doing ridiculous amounts of drugs were all considered de rigueur on the rock scene. The crazier, the better, so Jim Morrison exposing himself onstage and Ozzie Osborne biting the heads off not one but TWO animals have earned these rascally rockers an honored place in the pantheon of legendary mischief-makers—right up there with Keith Richards and Bigfoot.

Over the years, though, things (as they always do) changed. Gone are the days of Axl Rose throwing beer bottles at fans and refusing to perform—hell, gone are the days of Axl Rose, period. I doubt PETA would even let Ozzie within two counties of an animal now, and Morrison was forced to spend the last of his days living in exile. Rock is no longer the music of rebellion; it grew up and became big business. Today’s rock star is an endangered animal, trying to survive in a world where DJs and dubstep have replaced guitarists and punk.

Just don’t tell that to Adam Levine.

The Maroon 5 vocalist has been leading a one-man crusade to bring the rock star lifestyle into the 21st century, whether it’s performing concerts in sold-out stadiums or hosting epic parties with A-list guests.

Born and raised in Los Angeles, Levine’s journey into rock began at Brentwood School, where he and fellow classmates Jesse Carmichael, Mickey Madden and Ryan Dusick formed the band Kara’s Flowers. After a few local shows, Reprise Records took notice of the quartet and signed them. Their debut album, The Fourth World, was released in 1997. Despite the band snaring a guest spot on the classic television show 90210, the album—along with the single “Soap Disco”—failed to catch on. Soon after, Reprise released the members of Kara’s Flowers, and the bandmates went their separate ways.

The members were faced with a major dilemma: keep trying to make it in music or throw in the towel and head off to college? Fortunately, after a brief hiatus and some soul searching, they decided to give it one more shot. While performing a showcase at the infamous Viper Room, they were spotted by Octone’s Ben Berkman.

The record exec immediately saw their potential and brought fifth bandmate James Valentine on board so Levine could focus solely on singing, giving the newly minted Maroon 5 what they’d been sorely lacking—a charismatic front man.

Success, however, didn’t come easily for the singer or the band. When Maroon 5 released Songs About Jane in 2002, no one had any idea what was ahead. The record sold modestly at first, with the band touring almost constantly in support of its release. It wasn’t until 2003, when John Mayer asked the band to open for him on his tour that things really started to pick up. In 2004, Songs About Jane exploded, reaching No. 6 on the charts. Over two years passed since the album’s release, earning the record a record of its own: the longest time period between an album’s debut to its appearance in Billboard’s Top Ten. Fast-forward almost a decade later, and both Maroon 5 and Adam Levine are seemingly larger than life. With over 17 million albums sold, a No. 1 song in “Moves Like Jagger” and a No. 1 TV show in The Voice, it’s no wonder why Levine has become such a household name.

It’s also no wonder why Levine has been linked to some of the most beautiful women in the world. The self-proclaimed ladies man isn’t shy about his conquests, and he’s been seen stepping out with the likes of Lindsay Lohan, Maria Sharipova and swimsuit model Anne Vyalitsyna. Like any good rock star, he never has a shortage of high- profile arm candy, and with the amount of success he’s continued to have in his professional life, it doesn’t look like it’s going to stop anytime soon.

In the past, someone might look at Levine’s gig

on The Voice and call it selling out or say that it’s not rock ’n’ roll, but the truth is that once Ozzie and Sharon got a house in Beverly Hills and a camera crew to follow them around, doing this kind of thing became not just acceptable, it became good business. Every week that Adam occupies that big red chair is another week Maroon 5 is being talked about, which translates into more records sold. The face of a band should always be bringing attention to his group. In the past, he’d have to do something like throw a chair out a window; now, it’s better to be sitting in a chair on your own TV show.

While it’s easy to argue that Levine’s main purpose on The Voice is to bait in female viewers (and from the ratings, he’s doing a damn good job), he offers something more. The truth is, the M5 singer knows his stuff. Listening to him is like attending Music Business 101. It’s easy to forget just how much Levine and his bandmates struggled to get where they are today. Adam clearly remembers, and he’s able to connect with the contestants in a way that doesn’t come off as fake or arrogant.

Any musician worth his salt is going to throw some wild parties, and Levine is no different.

Each year, his annual Halloween party only seems to get bigger, with more and more celebrities showing up to show off in costume. Needless to say, it’s one of the most coveted invites in all of Los Angeles, and if you can get on the guest list, chances are you’re never going to look at parties the same way again.

Things have come a long way since those early days of rock, and while singers may not be eating live animals onstage or showing off their natural endowment to thousands of fans, it doesn’t mean spirit of the rock star is dead.

Just ask Adam Levine.

7 HOLLYWOOD | FALL / WINTER 2012

165

DOLCE AND GABBANA coat , Levi's jeans

LEVI'S

shirt and jeans

DOLCE AND GABBANA coat , Levi's jeans

LEVI'S

shirt and jeans

BURBERRY

MEN BURBERRY cologne

Hair Shaul Rabiz. Grooming Brenda Green/Margaret Maldonado Agency.

Manicurist Tom Bachik/ Cloutier Remix. Photo Assistant Eric Larson.

Retouching 2Db Creative. Shot At Smashbox Studios. Capture By Smashbox Digital

168

7 HOLLYWOOD | FALL / WINTER 2012

BURBERRY

MEN BURBERRY cologne

Hair Shaul Rabiz. Grooming Brenda Green/Margaret Maldonado Agency.

Manicurist Tom Bachik/ Cloutier Remix. Photo Assistant Eric Larson.

Retouching 2Db Creative. Shot At Smashbox Studios. Capture By Smashbox Digital

168

7 HOLLYWOOD | FALL / WINTER 2012

THE BOY can’t help it

MADONNA, BETH DITTO, LADY GAGA, AMY WINEHOUSE, RAQUEL WELCH, FAYE DUNAWAY, ROSSY DE PALMA… CHIC GROUP, N’EST-CE PAS? JOINING THAT RARIFIED PANTHEON OF MUSES IS ANDREJ PEJIĆ, THE BOSNIAN-BORN, AUSTRALIAN-BRED 21-YEAR-OLD SUPERMODEL WHO, IN THE RAREST OF FASHION FEATS, SLIPS SEAMLESSLY BETWEEN GLAMOUR AND GRUNGE, HARD AND SOFT, MALE AND FEMALE WITH AN ALLURE NOT SEEN SINCE THE DAYS OF BOWIE. DISCOVERED AT 17 LIKE A HOLLYWOOD STARLET (LEGEND HAS IT WHILE HE WAS WORKING AT A MCDONALD’S IN MELBOURNE), IN FOUR SHORT YEARS, PEJIĆ HAS GONE FROM ANONYMOUS ANDROGYNE TO A COVER BOY/GIRL WHO INSPIRED FASHION’S RULE-BREAKING ENFANT TERRIBLE JEAN PAUL GAULTIER TO CAST HIM AS THE FACE OF HIS MEN’S FRAGRANCE KOKORICO. “BASICALLY,” THE YOUNG MODEL TWEETED RECENTLY, “MY LIFE IS A POSE.” KEEP POSING, ANDREJ. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI

GAULTIER PARIS

“INCROYABLE” mini black leather tailcoat. tattoo devoured velvet fair isle long pleated dress with large organza turn-ups

THE BOY can’t help it

MADONNA, BETH DITTO, LADY GAGA, AMY WINEHOUSE, RAQUEL WELCH, FAYE DUNAWAY, ROSSY DE PALMA… CHIC GROUP, N’EST-CE PAS? JOINING THAT RARIFIED PANTHEON OF MUSES IS ANDREJ PEJIĆ, THE BOSNIAN-BORN, AUSTRALIAN-BRED 21-YEAR-OLD SUPERMODEL WHO, IN THE RAREST OF FASHION FEATS, SLIPS SEAMLESSLY BETWEEN GLAMOUR AND GRUNGE, HARD AND SOFT, MALE AND FEMALE WITH AN ALLURE NOT SEEN SINCE THE DAYS OF BOWIE. DISCOVERED AT 17 LIKE A HOLLYWOOD STARLET (LEGEND HAS IT WHILE HE WAS WORKING AT A MCDONALD’S IN MELBOURNE), IN FOUR SHORT YEARS, PEJIĆ HAS GONE FROM ANONYMOUS ANDROGYNE TO A COVER BOY/GIRL WHO INSPIRED FASHION’S RULE-BREAKING ENFANT TERRIBLE JEAN PAUL GAULTIER TO CAST HIM AS THE FACE OF HIS MEN’S FRAGRANCE KOKORICO. “BASICALLY,” THE YOUNG MODEL TWEETED RECENTLY, “MY LIFE IS A POSE.” KEEP POSING, ANDREJ. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI

GAULTIER PARIS

“INCROYABLE” mini black leather tailcoat. tattoo devoured velvet fair isle long pleated dress with large organza turn-ups

GAULTIER PARIS “SCANDALEUSE”,

black crepe woman’s pant suit cropped jacket and high-waisted pants. black top-stitched satin swallow-tailed bra.hairnet and paste headgear. GAULTIER PARIS “MUSCADIN”, black crepe woman’s pant suit. golden brass sliding ruler rivets caged vest. fragrance KOKORICO BY NIGHT BY JEAN PAUL GAULTIER

GAULTIER PARIS “SCANDALEUSE”,

black crepe woman’s pant suit cropped jacket and high-waisted pants. black top-stitched satin swallow-tailed bra.hairnet and paste headgear. GAULTIER PARIS “MUSCADIN”, black crepe woman’s pant suit. golden brass sliding ruler rivets caged vest. fragrance KOKORICO BY NIGHT BY JEAN PAUL GAULTIER

GAULTIER PARIS

“INCROYABLE” mini black leather tailcoat. tattoo devoured velvet fair isle long pleated dress with large organza turn-ups

GAULTIER PARIS

“INCROYABLE” mini black leather tailcoat. tattoo devoured velvet fair isle long pleated dress with large organza turn-ups

GAULTIER PARIS

“DEVOREUSE,” caged corset, with stays and laced up with gold leather, hips and breasts Hair Leila.a/Yumikoto Paris. Makeup Adam De Cruz/ Yumikoto Paris. Manicurist Katryn Charler. Stylist’s Assistants Mboko Mobutu, Tarek Bacha.

Makeup Artist’s Assistant Céline De Cruz. Shot At Le Petit Oiseau Va Sortir, Paris. Special Thanks To Laurent Cassagnau And Jelka Music At Jean Paul Gaultier.

176

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GAULTIER PARIS

“DEVOREUSE,” caged corset, with stays and laced up with gold leather, hips and breasts Hair Leila.a/Yumikoto Paris. Makeup Adam De Cruz/ Yumikoto Paris. Manicurist Katryn Charler. Stylist’s Assistants Mboko Mobutu, Tarek Bacha.

Makeup Artist’s Assistant Céline De Cruz. Shot At Le Petit Oiseau Va Sortir, Paris. Special Thanks To Laurent Cassagnau And Jelka Music At Jean Paul Gaultier.

176

7 HOLLYWOOD | FALL / WINTER 2012

HER MAJESTY REX USA caption: MARILYN MONROE WAITING IN LINE TO MEET THE QUEEN, LONDON, 1956. photo: HARRY MYERS

BY REUEL GOLDEN AND CHRISTOPHER WARWICK/PUBLISHED BY TASCHEN

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What a life. Not only did the Queen meet Marilyn Monroe at this particular 1956 premiere but she also met none other than the eventual heiress to Monroe’s throne as Queen of the Blonde Bombshells, Bridget Bardot (who said of Marilyn: “I stared at her hungrily. I found her sublime. She was always for me what every woman, not only me, must dream to be.

She was gorgeous, charming, fragile.”). The Queen, not really the type of lady to wax poetic about a film star, complimented Miss Monroe on her curtsy. It’s images like this (and so many more) that make Reuel Golden and Christopher Warwick’s sumptuous book a non-negotiable for fans of Her Majesty Elizabeth the Second, by the Grace of God, of the United Kingdom of Great Britain and Northern Ireland, and of Her other Realms and Territories, Queen, Head of the Commonwealth, Defender of the Faith.

This royal tome contains images from her seven-decade reign—ranging from World War II to her numerous Royal Tours to, of course, those weddings with images from photographers such as Cecil Beaton, Lord Snowdon, Wolfgang Tillmans and Rankin. At this point, who doesn’t love Queen Elizabeth II? (Morrissey… stop raising your hand.) After 60 years on the throne and a life with enough soap opera style twists and turns (Diana, Camilla, Fergie…) the grooviest great-grandma in the world is still there, still serving stiff upper lip and still working the best headgear in the world.

HER MAJESTY REX USA caption: MARILYN MONROE WAITING IN LINE TO MEET THE QUEEN, LONDON, 1956. photo: HARRY MYERS

BY REUEL GOLDEN AND CHRISTOPHER WARWICK/PUBLISHED BY TASCHEN

178

7 HOLLYWOOD | FALL / WINTER 2012

What a life. Not only did the Queen meet Marilyn Monroe at this particular 1956 premiere but she also met none other than the eventual heiress to Monroe’s throne as Queen of the Blonde Bombshells, Bridget Bardot (who said of Marilyn: “I stared at her hungrily. I found her sublime. She was always for me what every woman, not only me, must dream to be.

She was gorgeous, charming, fragile.”). The Queen, not really the type of lady to wax poetic about a film star, complimented Miss Monroe on her curtsy. It’s images like this (and so many more) that make Reuel Golden and Christopher Warwick’s sumptuous book a non-negotiable for fans of Her Majesty Elizabeth the Second, by the Grace of God, of the United Kingdom of Great Britain and Northern Ireland, and of Her other Realms and Territories, Queen, Head of the Commonwealth, Defender of the Faith.

This royal tome contains images from her seven-decade reign—ranging from World War II to her numerous Royal Tours to, of course, those weddings with images from photographers such as Cecil Beaton, Lord Snowdon, Wolfgang Tillmans and Rankin. At this point, who doesn’t love Queen Elizabeth II? (Morrissey… stop raising your hand.) After 60 years on the throne and a life with enough soap opera style twists and turns (Diana, Camilla, Fergie…) the grooviest great-grandma in the world is still there, still serving stiff upper lip and still working the best headgear in the world.

TRANIMAL WORKSHOP

TRANIMAL WORKSHOP (MODEL FADEDRA), smashbox studios 2012 (necklace

by MICHAEL SCHMIDT, bag by LOUIS VUITON) (this page)TRANIMAL WORKSHOP (model fade-dra), machine project, 2009

BEAUTY, GENDER AND IDENTITY: DECONSTRUCTED (AND RECONSTRUCTED) BY AUSTIN YOUNG, SQUEAKY BLONDE AND FADE-DRA'S COLLECTIVE: TRANIMAL WORKSHOP, A PARTICIPATORY PERFORMATIVE ART PROJECT WHERE THE PUBLIC IS TRANSFORMED INTO UNGENDERED, LIVING SCULPTURE. THIS AVANT-GARDE INTERACTIVE ARTWORK HAS APPEARED AT MACHINE PROJECT IN LOS ANGELES FROM 2009–20012, THE HAMMER MUSEUM IN 2010 AND THE BERKELEY ART MUSEUM IN 2011.

ALL PHOTOGRAPHS BY AUSTIN YOUNG

TRANIMAL WORKSHOP

TRANIMAL WORKSHOP (MODEL FADEDRA), smashbox studios 2012 (necklace

by MICHAEL SCHMIDT, bag by LOUIS VUITON) (this page)TRANIMAL WORKSHOP (model fade-dra), machine project, 2009

BEAUTY, GENDER AND IDENTITY: DECONSTRUCTED (AND RECONSTRUCTED) BY AUSTIN YOUNG, SQUEAKY BLONDE AND FADE-DRA'S COLLECTIVE: TRANIMAL WORKSHOP, A PARTICIPATORY PERFORMATIVE ART PROJECT WHERE THE PUBLIC IS TRANSFORMED INTO UNGENDERED, LIVING SCULPTURE. THIS AVANT-GARDE INTERACTIVE ARTWORK HAS APPEARED AT MACHINE PROJECT IN LOS ANGELES FROM 2009–20012, THE HAMMER MUSEUM IN 2010 AND THE BERKELEY ART MUSEUM IN 2011.

ALL PHOTOGRAPHS BY AUSTIN YOUNG

TRANIMAL WORKSHOP (MODEL SQUEAKY BLONDE), smashbox studios 2012 (opposite page) TRANIMAL WORKSHOP (MODEL FRANKIE RO), hammer museum 2010

TRANIMAL WORKSHOP (MODEL SQUEAKY BLONDE), smashbox studios 2012 (opposite page) TRANIMAL WORKSHOP (MODEL FRANKIE RO), hammer museum 2010

TRANIMAL WORKSHOP (MODEL UNKNOWN), hammer museum, 2010. (opposite page) TRANIMAL WORKSHOP (MODEL LISA KATNIK. mask

by ERIK HALLEY in SWAROVSKI CRYSTALS), smashbox studios, 2012

TRANIMAL WORKSHOP (MODEL UNKNOWN), hammer museum, 2010. (opposite page) TRANIMAL WORKSHOP (MODEL LISA KATNIK. mask

by ERIK HALLEY in SWAROVSKI CRYSTALS), smashbox studios, 2012

TRANIMAL WORKSHOP, (MODEL LAGANJA ESTRANJA), smashbox studios, 2012 (bracelet by MICHAEL SCHMIDT, hat by SKINGRAFT)

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7 HOLLYWOOD | FALL / WINTER 2012

TRANIMAL WORKSHOP, (MODEL LAGANJA ESTRANJA), smashbox studios, 2012 (bracelet by MICHAEL SCHMIDT, hat by SKINGRAFT)

186

7 HOLLYWOOD | FALL / WINTER 2012

TRANIMAL WORKSHOP (MODEL DAVID HURLEY), hammer museum (left) TRANIMAL WORKSHOP (MODEL UNKNOWN), machine project, 2009

TRANIMAL WORKSHOP (MODEL DAVID HURLEY), hammer museum (left) TRANIMAL WORKSHOP (MODEL UNKNOWN), machine project, 2009

LEGENDARY

ICON today

THE ICONIC CÉLINE DION: MORE BEAUTIFUL THAN EVER. THE BEST-SELLING FEMALE ARTIST OF ALL TIME IS ON TOP OF HER GAME AFTER 30 YEARS, FIVE GRAMMYS AND MORE THAN 200 MILLION ALBUMS SOLD. AS THE STUNNING CHANTEUSE (CHECK OUT THOSE LEGS) PREPARES TO RELEASE HER FIRST NEW ALBUM SINCE 2007, THE BIGGEST THING TO HIT THE VEGAS STRIP SINCE ELVIS SITS DOWN FOR A LAUGHTER-FILLED CONVERSATION ABOUT LIFE, LOVE AND LA MODE. PHOTOGRAPHER ALIX MALKA STYLIST ANNIE HORTH BY ROBERT BARR

JEANvintage PAUL trench GAULTIER coat,

BALMAIN belt, CHRISTIAN LOUBOUTIN footwear

LEGENDARY

ICON today

THE ICONIC CÉLINE DION: MORE BEAUTIFUL THAN EVER. THE BEST-SELLING FEMALE ARTIST OF ALL TIME IS ON TOP OF HER GAME AFTER 30 YEARS, FIVE GRAMMYS AND MORE THAN 200 MILLION ALBUMS SOLD. AS THE STUNNING CHANTEUSE (CHECK OUT THOSE LEGS) PREPARES TO RELEASE HER FIRST NEW ALBUM SINCE 2007, THE BIGGEST THING TO HIT THE VEGAS STRIP SINCE ELVIS SITS DOWN FOR A LAUGHTER-FILLED CONVERSATION ABOUT LIFE, LOVE AND LA MODE. PHOTOGRAPHER ALIX MALKA STYLIST ANNIE HORTH BY ROBERT BARR

JEANvintage PAUL trench GAULTIER coat,

BALMAIN belt, CHRISTIAN LOUBOUTIN footwear

RALPH LAUREN PURPLE LABEL

cummerbund and bow tie, TOM FORD tuxedo and tuxedo shirt, CHRISTIAN LOUBOUTIN footwear, LORRAINE SCHWARTZ earrings (worn as cuff links), (opposite page) LANVIN jacket, JITROIS leather pants CELINE DION PERSONAL ARCHIVE ring.

BALMAIN

skirt and belt,TOM FORD link bracelet, MONROW t-shirt, VIONNET bracelet

RALPH LAUREN PURPLE LABEL

cummerbund and bow tie, TOM FORD tuxedo and tuxedo shirt, CHRISTIAN LOUBOUTIN footwear, LORRAINE SCHWARTZ earrings (worn as cuff links), (opposite page) LANVIN jacket, JITROIS leather pants CELINE DION PERSONAL ARCHIVE ring.

BALMAIN

skirt and belt,TOM FORD link bracelet, MONROW t-shirt, VIONNET bracelet

TOM FORD

necklace. on hair L'ORÉAL ELNETT SATIN HAIRSPRAY, L'ORÉAL PROFESSIONNEL ® TEXTURE EXPERT or GRAPHIC AND LUMI CONTRÔLE

TOM FORD

necklace. on hair L'ORÉAL ELNETT SATIN HAIRSPRAY, L'ORÉAL PROFESSIONNEL ® TEXTURE EXPERT or GRAPHIC AND LUMI CONTRÔLE

ICON today

“I love jewelry. I love high fashion, fine jewelry. Truly, truly, I love it. I love it!”

CÉLINE DION

Befitting her status as grown-up music’s reigning Queen, Céline Dion doesn’t walk into a room, she arrives. Full of energy and enthusiasm as she struts into what only can be described as a reception room (imagine a Vegas version of where Elizabeth II receives foreign dignitaries) beneath her custom-built theatre at Caesars Palace, the first thing you notice about Céline is how she’s blossomed. At 44 years old, she’s never looked better; joy radiates from inside her lithe frame. On second glance, you notice how innately elegant, almost regal Céline is, the way she holds her hands, the impeccable yet casual way her blouse is tied, the way she sips her throat-soothing tea. Céline is a lady, a lady, who it turns out, loves fashion with an intensity even her most dedicated fans might not realize.

It’s a pleasure to talk to you. How are you? I’m great, I’m great; I love your pictures! You and Alix did a really fantastic job. Thank you very much! It [the shoot] was fun, but the result is really beyond my wildest dreams.

When I look at the photos, I find myself really beautiful, and you know, that’s such a trip. I look at my photos, and I say to myself, "Oh, my goodness!" I am very happy.

This is a totally new image for you. I think you've never been so beautiful and elegant. You look so fulfilled. I think it couldn’t have come at a better time.

Well, it's never too late to be beautiful! [Laughs] Ah, exactly, exactly! I wanted to know, because all of a sudden, you have a very paradoxical image: you're a mother of three children, and yet, you've never looked so hot. When people say: "But you've never been so sexy…” How do you react to that? How does that make you feel? Well, I think the answer is that I’m experiencing the greatest happiness possible in life. When you’re happy and you aren’t obliged to reinvent yourself or try to prove to yourself or constantly try to outdo yourself, but to totally focus each day on being a mother, which, for me, is the most important role in life, it’s even more important than singing. I live every day knowing that I am the most important person in the eyes of

196

7 HOLLYWOOD | FALL / WINTER 2012

my children and I'm making a big difference [in their lives]. There are other singers. But there's no other mother to my children. So that's where my beauty comes from. Maybe that’s why when I’m 44 years old, people have started noticing! My children make me realize the importance of each and every day when I’m with them. I have a son who is almost 12 years old. And I have twins, which are the greatest happiness. So I think Alix captured that magic, he didn’t invent it, but he definitely captured it. And that happiness has always been inside me. But I think the great, great happiness of being a mother has really made me blossom, and that shows. It shows because it’s there. My vocal chords aren’t leading my life, my mother's heart has taken over.

That’s so true. Listen, I wanted to talk a little about your collaboration with your longtime stylist, Annie Horth. I know she worked with you on your documentary and your most recent Vegas show. Annie has a great talent, obviously, in terms of styling. But, with Annie, it’s beyond the clothes. She wants to create with the camera, she wants to create with the lights, she wants to take care of everything! She wants to make sure that I'm at my best. Dressing a rockeuse who’s also sophisticated and at the same time classy? It’s not easy to achieve that balance. She does really exceptional work.

What do you think of Charlotte Tilbury, who did your makeup? Non mais écoute, Charlotte is a character! It was a total blast working with her. She’s not complicated, she’s so cute, she’s very attentive, but with such attention to detail at the same time. She never “masked” or tried to camouflage me. Because I am who I am. She was able to enhance my strengths, without making me disappear.

She was wonderful to work with and I would love to work with her again.

What was it like working with Oribe, who is one of the top hairdressers in the world? First, he is an extraordinary person and he’s one of the best-looking men

I've ever seen. I have such a crush on him because I think his hair and his face are so beautiful! This is a man with incredible style… I’m always saying to myself, “stop staring at him! Listen girl: that just won’t do!” He is very, very handsome and he has magic in his fingertips. It's always great to work with someone of his caliber.

Who are some of your favorite designers? Versace, Alber Elbaz, Balmain, Givenchy. Giambattista Valli, Saint-Laurent... listen, honestly, I could talk about designers all day. I love most, if not all of them! Karl Lagerfeld, Chanel… really, really, I find it really difficult to choose!

You really have a passion for clothing, and I feel like nobody knows that. You've rarely talked about it. Have you always been into fashion? Oh, yes, I’ve always had that passion! You’re gonna think I’m crazy, but even when I’m having my Christmas at home with my family, I’m having furs dyed emerald green to match my custom-made emerald silk satin dress, and the only thing I’m doing is hanging around the house!

J’adore! Fashion has always been a part of me, that's for sure.

Is there a particular period that you love the most? Well, listen, I could talk about Grace Kelly, Alfred Hitchcock movies ... but I look at today’s fashion, the Balmain, the Givenchy and all the other designers and I’m totally happy.

Let’s talk about your shoes. Since you were last on Oprah, I think you said there were 1,000 or 2,000 pairs? Ah... if I count all the shoes that I keep in Montreal... in Florida, maybe 2,000 or 3,000? You know, it would be nice to take a picture with all my shoes!

And you have a taste for diamonds too, you love jewelry... I love jewelry. I love high fashion, fine jewelry. Truly, truly, I love it. I love it!

As for fine jewelry, is there anyone in particular you love the most? Yes, always, Bulgari. There’s always Van Cleef. Extraordinary! Cartier, et cetera, Chanel.

Once again, it’s difficult for me to choose! There are always extraordinary things that transform your

LANVIN jacket

ICON today

“I love jewelry. I love high fashion, fine jewelry. Truly, truly, I love it. I love it!”

CÉLINE DION

Befitting her status as grown-up music’s reigning Queen, Céline Dion doesn’t walk into a room, she arrives. Full of energy and enthusiasm as she struts into what only can be described as a reception room (imagine a Vegas version of where Elizabeth II receives foreign dignitaries) beneath her custom-built theatre at Caesars Palace, the first thing you notice about Céline is how she’s blossomed. At 44 years old, she’s never looked better; joy radiates from inside her lithe frame. On second glance, you notice how innately elegant, almost regal Céline is, the way she holds her hands, the impeccable yet casual way her blouse is tied, the way she sips her throat-soothing tea. Céline is a lady, a lady, who it turns out, loves fashion with an intensity even her most dedicated fans might not realize.

It’s a pleasure to talk to you. How are you? I’m great, I’m great; I love your pictures! You and Alix did a really fantastic job. Thank you very much! It [the shoot] was fun, but the result is really beyond my wildest dreams.

When I look at the photos, I find myself really beautiful, and you know, that’s such a trip. I look at my photos, and I say to myself, "Oh, my goodness!" I am very happy.

This is a totally new image for you. I think you've never been so beautiful and elegant. You look so fulfilled. I think it couldn’t have come at a better time.

Well, it's never too late to be beautiful! [Laughs] Ah, exactly, exactly! I wanted to know, because all of a sudden, you have a very paradoxical image: you're a mother of three children, and yet, you've never looked so hot. When people say: "But you've never been so sexy…” How do you react to that? How does that make you feel? Well, I think the answer is that I’m experiencing the greatest happiness possible in life. When you’re happy and you aren’t obliged to reinvent yourself or try to prove to yourself or constantly try to outdo yourself, but to totally focus each day on being a mother, which, for me, is the most important role in life, it’s even more important than singing. I live every day knowing that I am the most important person in the eyes of

196

7 HOLLYWOOD | FALL / WINTER 2012

my children and I'm making a big difference [in their lives]. There are other singers. But there's no other mother to my children. So that's where my beauty comes from. Maybe that’s why when I’m 44 years old, people have started noticing! My children make me realize the importance of each and every day when I’m with them. I have a son who is almost 12 years old. And I have twins, which are the greatest happiness. So I think Alix captured that magic, he didn’t invent it, but he definitely captured it. And that happiness has always been inside me. But I think the great, great happiness of being a mother has really made me blossom, and that shows. It shows because it’s there. My vocal chords aren’t leading my life, my mother's heart has taken over.

That’s so true. Listen, I wanted to talk a little about your collaboration with your longtime stylist, Annie Horth. I know she worked with you on your documentary and your most recent Vegas show. Annie has a great talent, obviously, in terms of styling. But, with Annie, it’s beyond the clothes. She wants to create with the camera, she wants to create with the lights, she wants to take care of everything! She wants to make sure that I'm at my best. Dressing a rockeuse who’s also sophisticated and at the same time classy? It’s not easy to achieve that balance. She does really exceptional work.

What do you think of Charlotte Tilbury, who did your makeup? Non mais écoute, Charlotte is a character! It was a total blast working with her. She’s not complicated, she’s so cute, she’s very attentive, but with such attention to detail at the same time. She never “masked” or tried to camouflage me. Because I am who I am. She was able to enhance my strengths, without making me disappear.

She was wonderful to work with and I would love to work with her again.

What was it like working with Oribe, who is one of the top hairdressers in the world? First, he is an extraordinary person and he’s one of the best-looking men

I've ever seen. I have such a crush on him because I think his hair and his face are so beautiful! This is a man with incredible style… I’m always saying to myself, “stop staring at him! Listen girl: that just won’t do!” He is very, very handsome and he has magic in his fingertips. It's always great to work with someone of his caliber.

Who are some of your favorite designers? Versace, Alber Elbaz, Balmain, Givenchy. Giambattista Valli, Saint-Laurent... listen, honestly, I could talk about designers all day. I love most, if not all of them! Karl Lagerfeld, Chanel… really, really, I find it really difficult to choose!

You really have a passion for clothing, and I feel like nobody knows that. You've rarely talked about it. Have you always been into fashion? Oh, yes, I’ve always had that passion! You’re gonna think I’m crazy, but even when I’m having my Christmas at home with my family, I’m having furs dyed emerald green to match my custom-made emerald silk satin dress, and the only thing I’m doing is hanging around the house!

J’adore! Fashion has always been a part of me, that's for sure.

Is there a particular period that you love the most? Well, listen, I could talk about Grace Kelly, Alfred Hitchcock movies ... but I look at today’s fashion, the Balmain, the Givenchy and all the other designers and I’m totally happy.

Let’s talk about your shoes. Since you were last on Oprah, I think you said there were 1,000 or 2,000 pairs? Ah... if I count all the shoes that I keep in Montreal... in Florida, maybe 2,000 or 3,000? You know, it would be nice to take a picture with all my shoes!

And you have a taste for diamonds too, you love jewelry... I love jewelry. I love high fashion, fine jewelry. Truly, truly, I love it. I love it!

As for fine jewelry, is there anyone in particular you love the most? Yes, always, Bulgari. There’s always Van Cleef. Extraordinary! Cartier, et cetera, Chanel.

Once again, it’s difficult for me to choose! There are always extraordinary things that transform your

LANVIN jacket

look, even if it’s a simple blouse and jeans paired with a very beautiful piece from Bulgari.

Absolutely. So, let’s talk about movies. We’ve all heard that you'd like to make a film; perhaps play Maria Callas?

There is a project, but there’s nothing concrete at the moment. She is a character that fascinates me and excites me a lot. You know that Maria Callas was able to reach a depth ... with her voice and her talent. She was really able to touch people with her amazing talent, but she lived without love. For me, this is an incredible tragedy because ... well, I’ve been given the essential in life, I’ve always been bathed in love, I told myself that if someone should play the role of Maria Callas on the big screen, I think that I would love to give her a little of the love I received. I would play her role, her life and give her a little of the love she deserves.

It makes total sense, because you’re a diva absoluta and millions of fans love you the same way millions of fans loved her.

Speaking of Callas, do you ever have moments of solitude?

Times when you feel a bit overwhelmed by things? Not at

198

7 HOLLYWOOD | FALL / WINTER 2012

all. I never feel alone. I never live moments of solitude when I feel alone in the world. I was surrounded by a lot of love in my life... Jean-Pierre Ferland, who is an author here in Quebec, wrote me a song called “I Do Not Need Love” that says “Je n’ai pas besoin de fleurs, je n’ai pas besoin d’amant, les mots germent dans mon cœur, mais j’ai besoin de ton amour.” Therefore, I don’t think I need anything, because I have everything. I have the essential, I love my family and I let that cradle me, and I’m transported by a love that will be with me until the day I die.

That’s beautiful. Listen, there’s also a thing that everyone asks about you: "Is she really that nice?" It's pretty amazing that after 30, 32 years in showbiz, you're still so generous, open and human ... you and [your husband] René. But you know, I was criticized a lot for being such an “open book.” But I can assure you, the fact that I’ve been such an open book is what has given me so many opportunities. Songwriters and composers never need to brainstorm very long

to write songs for me because I’ve already shared everything! I’ve been an open book my whole life, and I feel that when composers offer me songs, they know me so well that they propose me things that are basically custom made. I don’t have to sit with them so that they can do an intense research to get to know me. When I sing a song, people know me already, so they feel it's true, it's real, it’s beyond the song. I think people like the music and the songs that I’ve sung recently, because I think they like me as I really am... I’ve shared my worries and my fears: [René’s] illness, my efforts to have a child, my fear of never being a mother, et cetera, et cetera. So I think that’s part of my success. This is the way I was raised, so for me it is not normal for me to be any other way. Sometimes I ask myself if I'm abnormally normal?

Switching gears yet again, if I say: Sophia Loren, what do you think? I had the great honor to meet her; I love her. I’ve also had the good fortune of meeting Paul Newman and Elizabeth Taylor. It’s amazing when you’re backstage at the Oscars and you wonder if it’s a film playing in front of you! Brigitte Bardot, what do you think of her? Well, Brigitte Bardot, we all hope to wake up one morning with hair like hers.

Disheveled perfection...

Once it was Elvis, the King, and now it’s Céline, the Queen, of Vegas. How do you react when people think of you as an icon? I always try not to disappoint.

Gaga? She is unique. She reminds me of Elton John, with the wild costumes. If all Elton John ever did was walk on stage in crazy costumes, hats and furs, no one would have cared. But because his talent is bigger than life, it works. So that’s why she reminds me of Elton John, because when she begins to sing, you see she’s a real singer, with extraordinary talent and incredible vocal talent.

I love that comparison. Madonna? I know that her father is your number one fan. Yes. Well, yes. We met at one of her shows. I’m a fan. When she came to Montreal, I was next to the stage. I think she’s had an extraordinary career and again, I’m watching Lourdes grow up, and she looks magnificent. I say: Well, it's still amazing to have a career like that. She’s managed to do exactly what she wanted to do. She has charisma, she has nerve. You must be able to work and have discipline. You must be the right thing at the right time. And I think obviously, Madonna had everything she needed to succeed.

Absolutely. To conclude, Barbra Streisand... It’s a shame for us that she’s not always on the stage. Because she’s amazing! I love her. I love to watch her movies. She moves me. A Star is Born. Look, that is a great singer… Yentl! I cried so much. I love her as a singer, as an actress. I’ve had the honor of her inviting my husband and me to dine with her at home. It’s really a shame for us not to see her on stage more often.Okay. Superb. Look, a thousand thank-yous... Thank you!

Je t’embrasse. Merci. Moi aussi. Au revoir.

BALMAIN

top hair ORIBE/ORIBE Hair Care. Makeup Charlotte Tilbury/ Art Partner. Producer Nathalie Akiya/ Kranky Produktions. Props Bradley Garlock. Special Thanks To René Angélil, John Doelp And Maria Marulanda At Sony Music Shot At Smashbox Studios All Cosmetics Courtesy L’oreal Paris.

look, even if it’s a simple blouse and jeans paired with a very beautiful piece from Bulgari.

Absolutely. So, let’s talk about movies. We’ve all heard that you'd like to make a film; perhaps play Maria Callas?

There is a project, but there’s nothing concrete at the moment. She is a character that fascinates me and excites me a lot. You know that Maria Callas was able to reach a depth ... with her voice and her talent. She was really able to touch people with her amazing talent, but she lived without love. For me, this is an incredible tragedy because ... well, I’ve been given the essential in life, I’ve always been bathed in love, I told myself that if someone should play the role of Maria Callas on the big screen, I think that I would love to give her a little of the love I received. I would play her role, her life and give her a little of the love she deserves.

It makes total sense, because you’re a diva absoluta and millions of fans love you the same way millions of fans loved her.

Speaking of Callas, do you ever have moments of solitude?

Times when you feel a bit overwhelmed by things? Not at

198

7 HOLLYWOOD | FALL / WINTER 2012

all. I never feel alone. I never live moments of solitude when I feel alone in the world. I was surrounded by a lot of love in my life... Jean-Pierre Ferland, who is an author here in Quebec, wrote me a song called “I Do Not Need Love” that says “Je n’ai pas besoin de fleurs, je n’ai pas besoin d’amant, les mots germent dans mon cœur, mais j’ai besoin de ton amour.” Therefore, I don’t think I need anything, because I have everything. I have the essential, I love my family and I let that cradle me, and I’m transported by a love that will be with me until the day I die.

That’s beautiful. Listen, there’s also a thing that everyone asks about you: "Is she really that nice?" It's pretty amazing that after 30, 32 years in showbiz, you're still so generous, open and human ... you and [your husband] René. But you know, I was criticized a lot for being such an “open book.” But I can assure you, the fact that I’ve been such an open book is what has given me so many opportunities. Songwriters and composers never need to brainstorm very long

to write songs for me because I’ve already shared everything! I’ve been an open book my whole life, and I feel that when composers offer me songs, they know me so well that they propose me things that are basically custom made. I don’t have to sit with them so that they can do an intense research to get to know me. When I sing a song, people know me already, so they feel it's true, it's real, it’s beyond the song. I think people like the music and the songs that I’ve sung recently, because I think they like me as I really am... I’ve shared my worries and my fears: [René’s] illness, my efforts to have a child, my fear of never being a mother, et cetera, et cetera. So I think that’s part of my success. This is the way I was raised, so for me it is not normal for me to be any other way. Sometimes I ask myself if I'm abnormally normal?

Switching gears yet again, if I say: Sophia Loren, what do you think? I had the great honor to meet her; I love her. I’ve also had the good fortune of meeting Paul Newman and Elizabeth Taylor. It’s amazing when you’re backstage at the Oscars and you wonder if it’s a film playing in front of you! Brigitte Bardot, what do you think of her? Well, Brigitte Bardot, we all hope to wake up one morning with hair like hers.

Disheveled perfection...

Once it was Elvis, the King, and now it’s Céline, the Queen, of Vegas. How do you react when people think of you as an icon? I always try not to disappoint.

Gaga? She is unique. She reminds me of Elton John, with the wild costumes. If all Elton John ever did was walk on stage in crazy costumes, hats and furs, no one would have cared. But because his talent is bigger than life, it works. So that’s why she reminds me of Elton John, because when she begins to sing, you see she’s a real singer, with extraordinary talent and incredible vocal talent.

I love that comparison. Madonna? I know that her father is your number one fan. Yes. Well, yes. We met at one of her shows. I’m a fan. When she came to Montreal, I was next to the stage. I think she’s had an extraordinary career and again, I’m watching Lourdes grow up, and she looks magnificent. I say: Well, it's still amazing to have a career like that. She’s managed to do exactly what she wanted to do. She has charisma, she has nerve. You must be able to work and have discipline. You must be the right thing at the right time. And I think obviously, Madonna had everything she needed to succeed.

Absolutely. To conclude, Barbra Streisand... It’s a shame for us that she’s not always on the stage. Because she’s amazing! I love her. I love to watch her movies. She moves me. A Star is Born. Look, that is a great singer… Yentl! I cried so much. I love her as a singer, as an actress. I’ve had the honor of her inviting my husband and me to dine with her at home. It’s really a shame for us not to see her on stage more often.Okay. Superb. Look, a thousand thank-yous... Thank you!

Je t’embrasse. Merci. Moi aussi. Au revoir.

BALMAIN

top hair ORIBE/ORIBE Hair Care. Makeup Charlotte Tilbury/ Art Partner. Producer Nathalie Akiya/ Kranky Produktions. Props Bradley Garlock. Special Thanks To René Angélil, John Doelp And Maria Marulanda At Sony Music Shot At Smashbox Studios All Cosmetics Courtesy L’oreal Paris.

YVES SAINT LAURENT (on face) Touche Éclat Radiant Touch In No. 1 Luminous Radiance, Teint Parfait Complexion Enhancer In No. 1 Radiant Mauve, Poudre Sur Mesure Semi-Loose Powder Natural Radiance In No. 1 Ivory (on eyes) Mascara Volume Effet Faux Cils Waterproof In No. 1 Charcoal Black, Ombre Solo Smoothing Effect Eye Shadow In No. 16 Topaz Blue And No. 12 Parisienne Pink. (on lips) Rouge Pur Couture Vernis À Lèvres Glossy Stain In No. 14 Fuchsia Dore. (on nails) La Laque Long Lasting Nail Lacquer in No. 32 Electric Yellow

beauty preview

SPRING POP NEW YORK, LONDON, PARIS, MILAN… WHAT WERE THE TOP BEAUTY TRENDS FOR SPRING /SUMMER 2013? LASHES WERE LUXURIOUSLY LONG, LUSH AND LUSTROUS IN ALL FOUR FASHION CAPITALS, WHILE EYES GLITTERED WITH METALLIC MINIMALISM AT DIOR, CHICLY COLORED LINER AT CHANEL AND FUTURE FORWARD METALLICS AT GUCCI AND VERSACE. ADDING TO THE COLORFUL COOL WERE KORS, ALTUZARRA AND KARAN, WHO SHOWED SHADES OF COBALT, JADE AND MAGENTA FOR EYES. LIPS POPPED WITH FANTASY FUCHSIAS AT DRIES AND GILES, ADDING A VIVID JOLT OF VIBRANCY TO SPRING’S MIX OF GRAPHIC LINES, GLAM GRUNGE AND STARK SILHOUETTES. SKIN WAS STRIPPED DOWN TO ITS BARE ESSENTIALS, WITH A POWDERED, MATTE FINISH ON RUNWAYS RANGING FROM WANG TO MCQUEEN TO VALENTINO. OUR SPRING PROPOSITION? MATTE SKIN MEETS STRIKING SHADES, IN COLORS EXCLUSIVELY BY L’OREAL PARIS. PHOTOGRAPHER ALIX MALKA MAKEUP LLOYD SIMMONDS

YVES SAINT LAURENT (on face) Touche Éclat Radiant Touch In No. 1 Luminous Radiance, Teint Parfait Complexion Enhancer In No. 1 Radiant Mauve, Poudre Sur Mesure Semi-Loose Powder Natural Radiance In No. 1 Ivory (on eyes) Mascara Volume Effet Faux Cils Waterproof In No. 1 Charcoal Black, Ombre Solo Smoothing Effect Eye Shadow In No. 16 Topaz Blue And No. 12 Parisienne Pink. (on lips) Rouge Pur Couture Vernis À Lèvres Glossy Stain In No. 14 Fuchsia Dore. (on nails) La Laque Long Lasting Nail Lacquer in No. 32 Electric Yellow

beauty preview

SPRING POP NEW YORK, LONDON, PARIS, MILAN… WHAT WERE THE TOP BEAUTY TRENDS FOR SPRING /SUMMER 2013? LASHES WERE LUXURIOUSLY LONG, LUSH AND LUSTROUS IN ALL FOUR FASHION CAPITALS, WHILE EYES GLITTERED WITH METALLIC MINIMALISM AT DIOR, CHICLY COLORED LINER AT CHANEL AND FUTURE FORWARD METALLICS AT GUCCI AND VERSACE. ADDING TO THE COLORFUL COOL WERE KORS, ALTUZARRA AND KARAN, WHO SHOWED SHADES OF COBALT, JADE AND MAGENTA FOR EYES. LIPS POPPED WITH FANTASY FUCHSIAS AT DRIES AND GILES, ADDING A VIVID JOLT OF VIBRANCY TO SPRING’S MIX OF GRAPHIC LINES, GLAM GRUNGE AND STARK SILHOUETTES. SKIN WAS STRIPPED DOWN TO ITS BARE ESSENTIALS, WITH A POWDERED, MATTE FINISH ON RUNWAYS RANGING FROM WANG TO MCQUEEN TO VALENTINO. OUR SPRING PROPOSITION? MATTE SKIN MEETS STRIKING SHADES, IN COLORS EXCLUSIVELY BY L’OREAL PARIS. PHOTOGRAPHER ALIX MALKA MAKEUP LLOYD SIMMONDS

YVES SAINT LAURENT

(on face) Touche Éclat Radiant Touch in No. 1 Luminous Radiance, Teint Parfait Complexion Enhancer in No. 1 Radiant Mauve, Poudre Sur Mesure Semi-Loose Powder Natural Radiance in No. 1 Ivory. (on eyes) Mascara Volume Effet Faux Cils Waterproof in No. 1 Charcoal Black, Candy Palette 4 Colour Harmony for Eyes. (on lips) Rouge Pur Couture Vernis À Lèvres Glossy Stain in No. 9 Rouge Laque. (on nails) La Laque Long Lasting Nail Lacquer in No. 32 Electric Yellow

YVES SAINT LAURENT

(on face) Touche Éclat Radiant Touch in No. 1 Luminous Radiance, Teint Parfait Complexion Enhancer in No. 1 Radiant Mauve, Poudre Sur Mesure Semi-Loose Powder Natural Radiance in No. 1 Ivory. (on eyes) Mascara Volume Effet Faux Cils Waterproof in No. 1 Charcoal Black, Candy Palette 4 Colour Harmony for Eyes. (on lips) Rouge Pur Couture Vernis À Lèvres Glossy Stain in No. 9 Rouge Laque. (on nails) La Laque Long Lasting Nail Lacquer in No. 32 Electric Yellow

david gandy

BREAKING THE MOLD PHOTOGRAPHER JOHN RYDER ST YLIST LOÏC M ASI BY JAKE SAVAGE

DOLCE & GABBANA coat, three-piece suit, shirt and tie, AGNELLE gloves

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7 HOLLYWOOD | FALL / WINTER 2012

david gandy

BREAKING THE MOLD PHOTOGRAPHER JOHN RYDER ST YLIST LOÏC M ASI BY JAKE SAVAGE

DOLCE & GABBANA coat, three-piece suit, shirt and tie, AGNELLE gloves

204

7 HOLLYWOOD | FALL / WINTER 2012

DOLCE & GABBANA

double-breasted tuxedo, shirt, bow tie and footwear, stylist’s own vintage cufflinks (opposite page) DOLCE & GABBANA suit, shirt, belt and tie

DOLCE & GABBANA

double-breasted tuxedo, shirt, bow tie and footwear, stylist’s own vintage cufflinks (opposite page) DOLCE & GABBANA suit, shirt, belt and tie

DOLCE & GABBANA (opposite) jacket, shirt

and bow tie (this page) coat, three-piece suit, shirt and tie, agnelle gloves

DOLCE & GABBANA (opposite) jacket, shirt

and bow tie (this page) coat, three-piece suit, shirt and tie, agnelle gloves

ICON today

DAVID GANDY HAS MADE A CAREER OUT OF DOING THINGS HIS WAY, WHETHER BEING THE FIRST MALE MODEL NOMINATED FOR THE BRITISH FASHION COUNCIL’S MODEL OF THE YEAR AWARD IN 2010 OR BEING THE ONLY MAN IN THE EPIC 2012 LONDON OLYMPICS FASHION SHOW, GANDY HAS SHOWN HE’S NOT AFRAID OF GOING AGAINST THE GRAIN. NOW WITH ANOTHER MODEL OF THE YEAR NOMINATION UNDER HIS BELT, THE DOLCE & GABBANA MUSE TALKS ABOUT HIS RISE FROM HUMBLE COLLEGE STUDENT TO ONE OF THE FASHION INDUSTRY’S MOST IMPORTANT ICONS.

On a hot July afternoon in Hollywood, David Gandy sits, fidgeting slightly as he waits patiently for the interview to start. It’s a simple setting: just a stool in front of a white canvas, and it only serves to highlight Gandy’s striking features. With his slicked back hair and famous piercing blue eyes, he looks almost ethereal; it’s like you’re staring into one of his famous billboards above Times Square or sitting across from a real-life James Bond. If it weren’t for the occasional good-natured smirk, you’d have a hard time believing otherwise.

It’s difficult to imagine a time when Gandy wasn’t planted firmly at the top of the fashion world. Since 2006, the Essex-born model has been the de facto face of Dolce & Gabbana, appearing in numerous campaigns for everything from fragrances to swimwear. In the process, he has established himself as an international superstar and redefined what is possible for male models everywhere. Not bad for someone who originally had no interest in modeling.

“I wouldn’t have actively pursued modeling,” he admits. “I wouldn’t have approached agencies; probably if I’d been approached in the street, I wouldn’t have accepted the idea.”

When his friends initially told him to enter a modeling contest airing on TV, Gandy scoffed at the idea. His roommate at the time refused to allow the all-too-modest college student to pass up such a golden opportunity and secretly mailed in photos of him. The judges loved what they saw, and it wasn’t long before he received a call from Select Modeling Agency. Of course, not knowing anything about the contest, Gandy thought the whole thing was a prank. “I put the phone down to them,” David says, smiling. “I didn’t know anything about it!” Eventually, he was convinced to enter, and after winning the contest, he hasn’t looked back.

“I had just finished university, and I thought [modeling] might be an adventure for a couple of years.” But when Dolce & Gabbana decided to take a chance on Gandy for their Light Blue fragrance campaign, fashion history was made.

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At the time, Gandy’s body style was deemed “too big.” Most male models had followed the lead of their female counterparts and become ridiculously skinny. The masculine aesthetic was nowhere to be seen, with most major designers choosing to highlight androgynous models in their major campaigns. He was told repeatedly that if he wanted to find work, he’d have to lose weight.

Instead of following orders, however, he did the opposite—he hit the gym and got bigger, adding on pounds of muscle to his already athletic frame.

Dolce & Gabbana loved what they saw and quickly made Gandy the face of their brand.

“We put the male model industry on its head,” says Gandy. “The industry went from skinny androgynous guys to more muscular. It all stemmed from Light Blue.”

Soon, it seemed like everyone was copying D & G’s vision of a return to male masculinity. Even David Beckham got in on the action, as billboards splashed with images of him bare-chested in white shorts began to pop up all over the world. The “Gandy look” had become a sensation.

As Gandy speaks about his past, it quickly becomes obvious why he has been able to stay at the top of an industry that’s notorious for chewing up and spitting out its participants. There’s a certain sense of modesty and charisma about him, and although many might have a hard time believing that someone who seemingly has it all can stay even remotely grounded, you get the feeling that being a model isn’t all that defines Gandy. The name of his charity, Blue Steel Appeal (after the Ben Stiller pose in Zoolander) shows he has a definite sense of humor about what he does. When he’s not in front of the camera, he writes and often serves as somewhat of an ambassador of all things British. He seems to regard his considerable success and fame with skepticism, always deflecting praise towards those around him. When asked how it feels to be known as a universal style icon, he reminds that it is the support staff around him that puts together the wardrobe and takes the pictures. “I just stand there,” he says with a grin.

DOLCE & GABBANA tank top, LIGHT BLUE cologne

ICON today

DAVID GANDY HAS MADE A CAREER OUT OF DOING THINGS HIS WAY, WHETHER BEING THE FIRST MALE MODEL NOMINATED FOR THE BRITISH FASHION COUNCIL’S MODEL OF THE YEAR AWARD IN 2010 OR BEING THE ONLY MAN IN THE EPIC 2012 LONDON OLYMPICS FASHION SHOW, GANDY HAS SHOWN HE’S NOT AFRAID OF GOING AGAINST THE GRAIN. NOW WITH ANOTHER MODEL OF THE YEAR NOMINATION UNDER HIS BELT, THE DOLCE & GABBANA MUSE TALKS ABOUT HIS RISE FROM HUMBLE COLLEGE STUDENT TO ONE OF THE FASHION INDUSTRY’S MOST IMPORTANT ICONS.

On a hot July afternoon in Hollywood, David Gandy sits, fidgeting slightly as he waits patiently for the interview to start. It’s a simple setting: just a stool in front of a white canvas, and it only serves to highlight Gandy’s striking features. With his slicked back hair and famous piercing blue eyes, he looks almost ethereal; it’s like you’re staring into one of his famous billboards above Times Square or sitting across from a real-life James Bond. If it weren’t for the occasional good-natured smirk, you’d have a hard time believing otherwise.

It’s difficult to imagine a time when Gandy wasn’t planted firmly at the top of the fashion world. Since 2006, the Essex-born model has been the de facto face of Dolce & Gabbana, appearing in numerous campaigns for everything from fragrances to swimwear. In the process, he has established himself as an international superstar and redefined what is possible for male models everywhere. Not bad for someone who originally had no interest in modeling.

“I wouldn’t have actively pursued modeling,” he admits. “I wouldn’t have approached agencies; probably if I’d been approached in the street, I wouldn’t have accepted the idea.”

When his friends initially told him to enter a modeling contest airing on TV, Gandy scoffed at the idea. His roommate at the time refused to allow the all-too-modest college student to pass up such a golden opportunity and secretly mailed in photos of him. The judges loved what they saw, and it wasn’t long before he received a call from Select Modeling Agency. Of course, not knowing anything about the contest, Gandy thought the whole thing was a prank. “I put the phone down to them,” David says, smiling. “I didn’t know anything about it!” Eventually, he was convinced to enter, and after winning the contest, he hasn’t looked back.

“I had just finished university, and I thought [modeling] might be an adventure for a couple of years.” But when Dolce & Gabbana decided to take a chance on Gandy for their Light Blue fragrance campaign, fashion history was made.

210

7 HOLLYWOOD | FALL / WINTER 2012

At the time, Gandy’s body style was deemed “too big.” Most male models had followed the lead of their female counterparts and become ridiculously skinny. The masculine aesthetic was nowhere to be seen, with most major designers choosing to highlight androgynous models in their major campaigns. He was told repeatedly that if he wanted to find work, he’d have to lose weight.

Instead of following orders, however, he did the opposite—he hit the gym and got bigger, adding on pounds of muscle to his already athletic frame.

Dolce & Gabbana loved what they saw and quickly made Gandy the face of their brand.

“We put the male model industry on its head,” says Gandy. “The industry went from skinny androgynous guys to more muscular. It all stemmed from Light Blue.”

Soon, it seemed like everyone was copying D & G’s vision of a return to male masculinity. Even David Beckham got in on the action, as billboards splashed with images of him bare-chested in white shorts began to pop up all over the world. The “Gandy look” had become a sensation.

As Gandy speaks about his past, it quickly becomes obvious why he has been able to stay at the top of an industry that’s notorious for chewing up and spitting out its participants. There’s a certain sense of modesty and charisma about him, and although many might have a hard time believing that someone who seemingly has it all can stay even remotely grounded, you get the feeling that being a model isn’t all that defines Gandy. The name of his charity, Blue Steel Appeal (after the Ben Stiller pose in Zoolander) shows he has a definite sense of humor about what he does. When he’s not in front of the camera, he writes and often serves as somewhat of an ambassador of all things British. He seems to regard his considerable success and fame with skepticism, always deflecting praise towards those around him. When asked how it feels to be known as a universal style icon, he reminds that it is the support staff around him that puts together the wardrobe and takes the pictures. “I just stand there,” he says with a grin.

DOLCE & GABBANA tank top, LIGHT BLUE cologne

DOLCE & GABBANA

jacket, shirt, tie and eyewear. (opposite page) DOLCE & GABBANA waistcoat, shirt, pants and scarf, stylist’s own vintage necklace Hair Leila.a/Yumikoto Paris.

Grooming Ismael Blanco/ Agence Aurelien Paris. Stylist’s Assistants Mboko Mobutu, Tarek Bacha.hair Stylist’s Assistant Luciano Corcovado. Shot At Smashbox Studios.

Digital Capture By Smashbox

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7 HOLLYWOOD | FALL / WINTER 2012

DOLCE & GABBANA

jacket, shirt, tie and eyewear. (opposite page) DOLCE & GABBANA waistcoat, shirt, pants and scarf, stylist’s own vintage necklace Hair Leila.a/Yumikoto Paris.

Grooming Ismael Blanco/ Agence Aurelien Paris. Stylist’s Assistants Mboko Mobutu, Tarek Bacha.hair Stylist’s Assistant Luciano Corcovado. Shot At Smashbox Studios.

Digital Capture By Smashbox

212

7 HOLLYWOOD | FALL / WINTER 2012

CHAKA KHAN / CHAKA (Warner Bros. Records, 1978) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

CHAKA KHAN / CHAKA (Warner Bros. Records, 1978) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

MISS B.

ICON today

the

divine

GLAMORIZING GRIPOIX ONE BIJOUX AT A TIME, NO FLOWER IN THE PARISIAN FASHION HAUTE-HOUSE BLOOMS BRIGHTER. THE EXQUISITELY ATTIRED AUSTRALIAN-BORN JEWELER, COSTUME DESIGNER, STYLIST, MUSE AND EXCENTRIQUE PAR EXCELLENCE CATHERINE BABA, CELEBRATED BY THE STREET STYLE SET FOR HER VINTAGE FROCKS, OUTRAGEOUSLY OVERSIZED SUNGLASSES AND HEAD-TURNING TURBANS, SHE DISCUSSES HER NEW COLLECTION, HER INSPIRATIONS AND HER OWN RED CARPET HOLLYWOOD DEBUT. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI BY ROBERT BARR

YVES SAINT LAURENT vintage dress,

CATHERINE BABA FOR GRIPOIX paon clip earrings, phoenix harness, cœur cuff and vanity ring

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7 HOLLYWOOD | FALL / WINTER 2012

MISS B.

ICON today

the

divine

GLAMORIZING GRIPOIX ONE BIJOUX AT A TIME, NO FLOWER IN THE PARISIAN FASHION HAUTE-HOUSE BLOOMS BRIGHTER. THE EXQUISITELY ATTIRED AUSTRALIAN-BORN JEWELER, COSTUME DESIGNER, STYLIST, MUSE AND EXCENTRIQUE PAR EXCELLENCE CATHERINE BABA, CELEBRATED BY THE STREET STYLE SET FOR HER VINTAGE FROCKS, OUTRAGEOUSLY OVERSIZED SUNGLASSES AND HEAD-TURNING TURBANS, SHE DISCUSSES HER NEW COLLECTION, HER INSPIRATIONS AND HER OWN RED CARPET HOLLYWOOD DEBUT. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI BY ROBERT BARR

YVES SAINT LAURENT vintage dress,

CATHERINE BABA FOR GRIPOIX paon clip earrings, phoenix harness, cœur cuff and vanity ring

216

7 HOLLYWOOD | FALL / WINTER 2012

HERVÉ LEROUX

“Of course, we all love the Marlene and the Garbo and Bette Davis and The Joan Crawford. I think I was a gay man in a past life!”

CATHERINE BABA

dress, CATHERINE BABA FOR GRIPOIX dragon necklace, eagle belt, vanity ring, cœur cuff and lily bag (opposite) CATHERINE BABA PERSONAL ARCHIVE dress, CATHERINE BABA FOR GRIPOIX geisha necklace, eagle belt, phoenix and lily bag

Hair Stylist Leila.a/Yumikoto Paris. Makeup Adam De Cruz/Yumikoto Paris.

Manicurist Katryn Charler Stylist’s Assistants Mboko Mobutu, Tarek Bacha.

Makeup Artist’s Assistant Céline De Cruz. Shot At Le Petit Oiseau Va Sortir, Paris

You ready, darling? D’accord. What do you think about Hollywood style? Anyone that loves aesthetics as much as I do fantasizes about the silver screen, Technicolor period of the studios. You know, the costumes–the iconic actresses and actors that made Hollywood.

Without them I think Hollywood would be just a desert with a couple of orange trees.

Do you have any favorite icons of the Golden Era? Of course, we all love the Marlene and the Garbo and Bette Davis and the Joan Crawford. I think I was a gay man in a past life! Perhaps you were Joan Crawford’s decorator in your past life? Well, I don’t want to be her adopted daughter. [Chuckle] The Adrians, the Edith Heads, the Hitchcocks… all of that fantasia with Busby Berkeley. That was really well done. How important is dreaming and fantasy to what you do? Darling–there is possibly no future without dreams.

What pushes you to make your fantasies realities?

I feel very lucky being alive. I want to do as much as I can. How did your collaboration with Gripoix for your jewelry line happen? The owner of the house proposed that I create my own collection for them. Did you know they collaborated with Mademoiselle Chanel?

Didn’t she say, “Before you leave the house you look in the mirror and you take thing one off.” How do you feel about that? Well, darling, I’m the opposite, I put more on! [Chuckle] Can one ever have too many bangles? Darling, more is never enough. [Chuckle] Let’s talk about your new career in costume design. Tell us a little bit about My Little Princess. As much as I love cinema, I had never considered myself going in that

direction, quite frankly, ever. For me, my every day is like, a stage; a screen! But then My Little Princess started to evolve: because of the film’s aesthetic, the costumes are like characters themselves; I was really excited about that.

So, I decided that I could do it. And well, we did it and it was fabulous. Do you see yourself doing more? Future cinematic situations? Of course!

I don’t want to close any doors. I want to create more collections via jewelry, clothing, and also styling and working on films.

What was it like collaborating with one of the great goddesses of French cinema, Isabelle Huppert? She is great. She’s a perfectionist and she knows her craft. Now that you’re evolving into this major costume designer, nominated for a Cesar–congratulations by the way—a nomination on your first project is huge. I’m very appreciative. Who are some people you would love to work with in American cinema? Is there anybody out there that you would love to get a phone call from? A lot of them are dead!

No, seriously, Sofia Coppola. I love her eye.

I would love to work with Roman Polanski.

Woody Allen…I adore Bullets Over Broadway!

I love Baz Luhrmann and his wife Catherine Martin. They’re also Australian. If ever they’re feeling like a Catherine Baba injection I would not say no. When you’re nominated for an Oscar, what sort of look are you thinking for the red carpet? Talking about my look and I haven’t even been nominated? (Laughs) I’ll probably show up in some kind of a lamé. It’d have to be gold for Oscar, no? ?

7 HOLLYWOOD | FALL / WINTER 2012

219

HERVÉ LEROUX

“Of course, we all love the Marlene and the Garbo and Bette Davis and The Joan Crawford. I think I was a gay man in a past life!”

CATHERINE BABA

dress, CATHERINE BABA FOR GRIPOIX dragon necklace, eagle belt, vanity ring, cœur cuff and lily bag (opposite) CATHERINE BABA PERSONAL ARCHIVE dress, CATHERINE BABA FOR GRIPOIX geisha necklace, eagle belt, phoenix and lily bag

Hair Stylist Leila.a/Yumikoto Paris. Makeup Adam De Cruz/Yumikoto Paris.

Manicurist Katryn Charler Stylist’s Assistants Mboko Mobutu, Tarek Bacha.

Makeup Artist’s Assistant Céline De Cruz. Shot At Le Petit Oiseau Va Sortir, Paris

You ready, darling? D’accord. What do you think about Hollywood style? Anyone that loves aesthetics as much as I do fantasizes about the silver screen, Technicolor period of the studios. You know, the costumes–the iconic actresses and actors that made Hollywood.

Without them I think Hollywood would be just a desert with a couple of orange trees.

Do you have any favorite icons of the Golden Era? Of course, we all love the Marlene and the Garbo and Bette Davis and the Joan Crawford. I think I was a gay man in a past life! Perhaps you were Joan Crawford’s decorator in your past life? Well, I don’t want to be her adopted daughter. [Chuckle] The Adrians, the Edith Heads, the Hitchcocks… all of that fantasia with Busby Berkeley. That was really well done. How important is dreaming and fantasy to what you do? Darling–there is possibly no future without dreams.

What pushes you to make your fantasies realities?

I feel very lucky being alive. I want to do as much as I can. How did your collaboration with Gripoix for your jewelry line happen? The owner of the house proposed that I create my own collection for them. Did you know they collaborated with Mademoiselle Chanel?

Didn’t she say, “Before you leave the house you look in the mirror and you take thing one off.” How do you feel about that? Well, darling, I’m the opposite, I put more on! [Chuckle] Can one ever have too many bangles? Darling, more is never enough. [Chuckle] Let’s talk about your new career in costume design. Tell us a little bit about My Little Princess. As much as I love cinema, I had never considered myself going in that

direction, quite frankly, ever. For me, my every day is like, a stage; a screen! But then My Little Princess started to evolve: because of the film’s aesthetic, the costumes are like characters themselves; I was really excited about that.

So, I decided that I could do it. And well, we did it and it was fabulous. Do you see yourself doing more? Future cinematic situations? Of course!

I don’t want to close any doors. I want to create more collections via jewelry, clothing, and also styling and working on films.

What was it like collaborating with one of the great goddesses of French cinema, Isabelle Huppert? She is great. She’s a perfectionist and she knows her craft. Now that you’re evolving into this major costume designer, nominated for a Cesar–congratulations by the way—a nomination on your first project is huge. I’m very appreciative. Who are some people you would love to work with in American cinema? Is there anybody out there that you would love to get a phone call from? A lot of them are dead!

No, seriously, Sofia Coppola. I love her eye.

I would love to work with Roman Polanski.

Woody Allen…I adore Bullets Over Broadway!

I love Baz Luhrmann and his wife Catherine Martin. They’re also Australian. If ever they’re feeling like a Catherine Baba injection I would not say no. When you’re nominated for an Oscar, what sort of look are you thinking for the red carpet? Talking about my look and I haven’t even been nominated? (Laughs) I’ll probably show up in some kind of a lamé. It’d have to be gold for Oscar, no? ?

7 HOLLYWOOD | FALL / WINTER 2012

219

ICON forever

Blackboard showing MGM wardrobe department fittings schedule. (1939) Courtesy the Collections of the Margaret Herrick Library.

ELIZABETH TAYLOR

hair and makeup test for Cleopatra (1963) Courtesy the Collections of the Margaret Herrick Library.

ICON forever

Blackboard showing MGM wardrobe department fittings schedule. (1939) Courtesy the Collections of the Margaret Herrick Library.

ELIZABETH TAYLOR

hair and makeup test for Cleopatra (1963) Courtesy the Collections of the Margaret Herrick Library.

ICON tomorrow

THE WARRIOR NEW ALBUM. NEW LOOK. NEW KE$HA. ONE OF THE MOST PROLIFIC POP SONGWRITERS OF HER GENERATION, THIS 25-YEAR-OLD—WHO’S WRITTEN SOME OF THE BIGGEST TRACKS FOR HEAVY HITTERS LIKE BRITNEY SPEARS, KELLY CLARKSON AND MILEY CYRUS—IS HOPING TO PROVE SHE HAS WHAT IT TAKES TO LEAVE A LASTING IMPRINT ON MUSIC AND CULTURE WITH HER NEW ALBUM. POP’S TOP HIT MAKER IS STRIPPING BACK THE LAYERS AND BARING HER SOUL. PHOTOGRAPHER ALIX MALKA STYLIST ZALDY BY SABRINA COGNATA

ZALDY Vest, PRB PR hat.

ICON tomorrow

THE WARRIOR NEW ALBUM. NEW LOOK. NEW KE$HA. ONE OF THE MOST PROLIFIC POP SONGWRITERS OF HER GENERATION, THIS 25-YEAR-OLD—WHO’S WRITTEN SOME OF THE BIGGEST TRACKS FOR HEAVY HITTERS LIKE BRITNEY SPEARS, KELLY CLARKSON AND MILEY CYRUS—IS HOPING TO PROVE SHE HAS WHAT IT TAKES TO LEAVE A LASTING IMPRINT ON MUSIC AND CULTURE WITH HER NEW ALBUM. POP’S TOP HIT MAKER IS STRIPPING BACK THE LAYERS AND BARING HER SOUL. PHOTOGRAPHER ALIX MALKA STYLIST ZALDY BY SABRINA COGNATA

ZALDY Vest, PRB PR hat.

SPENT BRASS COLLECTION necklaces, WASTELAND VIN-

TAGE surplus jacket, STYLIST’S OWN boots, MINIMALE ANIMALE bikini bottom, VICTORIA’S SECRET bra, PALACE COSTUMES vintage headpiece (previous) ZALDY vest, PRB PR hat, JESSICA WINZELBERG rings, MARIE TODD ring

SPENT BRASS COLLECTION necklaces, WASTELAND VIN-

TAGE surplus jacket, STYLIST’S OWN boots, MINIMALE ANIMALE bikini bottom, VICTORIA’S SECRET bra, PALACE COSTUMES vintage headpiece (previous) ZALDY vest, PRB PR hat, JESSICA WINZELBERG rings, MARIE TODD ring

ZALDY AND JIM Z

custom dress designed exclusively for Ke$ha, PAMELA LOVE ring, PALACE COSTUME vintage headpiece, ZALDY earrings

ZALDY AND JIM Z

custom dress designed exclusively for Ke$ha, PAMELA LOVE ring, PALACE COSTUME vintage headpiece, ZALDY earrings

“With this one, I kind of put my heart on the line a little more. I’ve definitely poured my entire soul into this record.”

KE$HA

She’s an artist evolving before our very eyes. Since her 2009 debut album, Animal, Ke$ha’s undergone the metamorphosis necessary to survive in a world where change isn’t just inevitable but a necessity in order to stay relevant. Her first step: dropping the multitude of production techniques and auto-tuning that was synonymous with her first album and developing a more refined sound for her second effort, Warrior. “I feel like on the first one that I used a lot of vocal tricks, just to make a weird, different cool sound—kind of like a robot. But on this record, I really wanted to strip it down for part of the record and just fucking wail and scream and sing my ass off.”

Ke$ha (Kesha Rose Sebert) grew up in the Nashville suburb of Brentwood. Music came naturally to the idiosyncratic, velvet bell-bottom–wearing girl who spent her formative years running home from high school to work on songs with her mom, songwriter Pebe Sebert. This after-school special training paid off when she wrote one of the biggest hits of 2011, Britney Spears’s “Till The World Ends,” a song she considers to be one of the highlights of her songwriting career. “It still is, like, kind of one of my proudest moments as a songwriter because there’s something different about it,” she says.

“When I write a song for me, that’s one thing.

But when I write a song for someone else, especially one of the biggest pop stars that has ever lived and is an icon, I don’t really know if it could get much better.”

Growing up as a member of the 99 percent, Ke$ha’s fashion sense grew organically. Using hand-me-downs and thrift store purchases, Ke$ha refined her look for Animal by mirroring her rock ’n’ roll heroes. She reveals: “It was a little bit of a combination of David Bowie and a little Alice Cooper and a little bit of KISS. All the bands I grew up watching and listening to were really hardcore men, and they wore this incredible makeup.” As her sound has matured, so has her style—something she was excited to experiment with on her 7Hollywood shoot. “It just felt very much like a progression of the looks I’ve already explored, but in a high-fashion way.”

Over the past couple of years, her popularity thrust her into the spotlight, giving her the ability to play with style. “Now, all of a sudden, I have the means and people to help me kind of explore

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7 HOLLYWOOD | FALL / WINTER 2012

this kind of new creative world that is fashion,” she says, “and I feel like this is one of the first shoots where you see me go there.” In fact, the badass blonde wants to make her mark not only on the music world but in fashion, too, by taking her over-the-top onstage look and streamlining it into a sexier, more grown-up, Bridget Bardot–like persona.

“Don’t worry,” she states pointedly, “I’m not going to sell out or anything. But I do think that there’s a way to mix high fashion and vintage.”

This evolutionary fine-tuning is also being applied to her soon-to-be-released album. “I tried a little bit of the influence of the kind of music I like to listen to in my spare time and mold, meld it with the kind of the music that I’m known for making. So they’re still, like, really fun party anthems, but you’re just going to hear a little bit of my influences in there.”

Ke$ha crafts explosive pop anthems that make her fans get up and dance for hours, inspiring listeners to break free from the enslavement of their daily routines—a feeling that’s essentially punk rock. She attributes this spirit to her Nashville roots, where she’d go to a show and, once it was over, all the kids who were rocking out to punk would start dancing to songs by Madonna or The Cars. Ke$ha explains, “I realized that punk rock and rock ’n’ roll is not necessarily the style of music you play, it’s an attitude and it’s an energy. And I kind of wanted to just make sure to be irreverent and that the I don’t give a fuck attitude was just very much there in the music that I make, which is pop music at the end of the day.”

Ke$ha is looking to balance all the parts of her personality and emerge uniquely new, but never at the expense of her audience. “With this one, [Warrior] I kind of put my heart on the line a little more. I’ve definitely poured my entire soul into this record. And so, I still want [fans] to come [to my shows] and have the most incredible experience, the best night of their life. But I also want them to walk away kind of knowing me on a real level a little bit more.”

It takes a lot of soul to try and redefine a genre, but it seems this pop star warrior knows what she’s getting herself into. Music and fashion as we knew it are on a countdown to transformation.

Ke$ha’s second album, Warrior, is scheduled to be released December 4th, 2012.

NUMBER (N)INE

coat, HANES tank top, OMO NORMA KAMALI stud panties, DR. MARTENS boots

“With this one, I kind of put my heart on the line a little more. I’ve definitely poured my entire soul into this record.”

KE$HA

She’s an artist evolving before our very eyes. Since her 2009 debut album, Animal, Ke$ha’s undergone the metamorphosis necessary to survive in a world where change isn’t just inevitable but a necessity in order to stay relevant. Her first step: dropping the multitude of production techniques and auto-tuning that was synonymous with her first album and developing a more refined sound for her second effort, Warrior. “I feel like on the first one that I used a lot of vocal tricks, just to make a weird, different cool sound—kind of like a robot. But on this record, I really wanted to strip it down for part of the record and just fucking wail and scream and sing my ass off.”

Ke$ha (Kesha Rose Sebert) grew up in the Nashville suburb of Brentwood. Music came naturally to the idiosyncratic, velvet bell-bottom–wearing girl who spent her formative years running home from high school to work on songs with her mom, songwriter Pebe Sebert. This after-school special training paid off when she wrote one of the biggest hits of 2011, Britney Spears’s “Till The World Ends,” a song she considers to be one of the highlights of her songwriting career. “It still is, like, kind of one of my proudest moments as a songwriter because there’s something different about it,” she says.

“When I write a song for me, that’s one thing.

But when I write a song for someone else, especially one of the biggest pop stars that has ever lived and is an icon, I don’t really know if it could get much better.”

Growing up as a member of the 99 percent, Ke$ha’s fashion sense grew organically. Using hand-me-downs and thrift store purchases, Ke$ha refined her look for Animal by mirroring her rock ’n’ roll heroes. She reveals: “It was a little bit of a combination of David Bowie and a little Alice Cooper and a little bit of KISS. All the bands I grew up watching and listening to were really hardcore men, and they wore this incredible makeup.” As her sound has matured, so has her style—something she was excited to experiment with on her 7Hollywood shoot. “It just felt very much like a progression of the looks I’ve already explored, but in a high-fashion way.”

Over the past couple of years, her popularity thrust her into the spotlight, giving her the ability to play with style. “Now, all of a sudden, I have the means and people to help me kind of explore

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this kind of new creative world that is fashion,” she says, “and I feel like this is one of the first shoots where you see me go there.” In fact, the badass blonde wants to make her mark not only on the music world but in fashion, too, by taking her over-the-top onstage look and streamlining it into a sexier, more grown-up, Bridget Bardot–like persona.

“Don’t worry,” she states pointedly, “I’m not going to sell out or anything. But I do think that there’s a way to mix high fashion and vintage.”

This evolutionary fine-tuning is also being applied to her soon-to-be-released album. “I tried a little bit of the influence of the kind of music I like to listen to in my spare time and mold, meld it with the kind of the music that I’m known for making. So they’re still, like, really fun party anthems, but you’re just going to hear a little bit of my influences in there.”

Ke$ha crafts explosive pop anthems that make her fans get up and dance for hours, inspiring listeners to break free from the enslavement of their daily routines—a feeling that’s essentially punk rock. She attributes this spirit to her Nashville roots, where she’d go to a show and, once it was over, all the kids who were rocking out to punk would start dancing to songs by Madonna or The Cars. Ke$ha explains, “I realized that punk rock and rock ’n’ roll is not necessarily the style of music you play, it’s an attitude and it’s an energy. And I kind of wanted to just make sure to be irreverent and that the I don’t give a fuck attitude was just very much there in the music that I make, which is pop music at the end of the day.”

Ke$ha is looking to balance all the parts of her personality and emerge uniquely new, but never at the expense of her audience. “With this one, [Warrior] I kind of put my heart on the line a little more. I’ve definitely poured my entire soul into this record. And so, I still want [fans] to come [to my shows] and have the most incredible experience, the best night of their life. But I also want them to walk away kind of knowing me on a real level a little bit more.”

It takes a lot of soul to try and redefine a genre, but it seems this pop star warrior knows what she’s getting herself into. Music and fashion as we knew it are on a countdown to transformation.

Ke$ha’s second album, Warrior, is scheduled to be released December 4th, 2012.

NUMBER (N)INE

coat, HANES tank top, OMO NORMA KAMALI stud panties, DR. MARTENS boots

OMO NORMA KAMALI

stud panties, STYLIST'S OWN vest, PALACE COSTUMES vintage necklace, HANES tank top

OMO NORMA KAMALI

stud panties, STYLIST'S OWN vest, PALACE COSTUMES vintage necklace, HANES tank top

NUMBER (N)INE

coat, HANES tank top, OMO NORMA KAMALI stud panties .

Hair Peter Savic/Solo Artist. makeup Scott Barnes/ Barnes & Galasso. Manicurist Chantalynn/Macgowan Spencer Creative Agency. zaldy’s Assistant Shelby Scudder Fashion Assistant Jordan Grossman. Shot At Smashbox Studios. Capture

By Smashbox Digital. Special Thanks To Peter Max-Muller, Jamie Abzug

NUMBER (N)INE

coat, HANES tank top, OMO NORMA KAMALI stud panties .

Hair Peter Savic/Solo Artist. makeup Scott Barnes/ Barnes & Galasso. Manicurist Chantalynn/Macgowan Spencer Creative Agency. zaldy’s Assistant Shelby Scudder Fashion Assistant Jordan Grossman. Shot At Smashbox Studios. Capture

By Smashbox Digital. Special Thanks To Peter Max-Muller, Jamie Abzug

ICON forever

“If you want something from an audience, you give blood to their fantasies.

It’s the ultimate hustle.”

MARLON BRANDO

MARLON BRANDO

During filming of On The Waterfront (1954).

Courtesy the Collections of the Margaret Herrick Library.

ICON forever

“If you want something from an audience, you give blood to their fantasies.

It’s the ultimate hustle.”

MARLON BRANDO

MARLON BRANDO

During filming of On The Waterfront (1954).

Courtesy the Collections of the Margaret Herrick Library.

OVERNIGHT SENSATION WHAT’S LEFT AFTER A GIRL’S DONE FASHION MAGAZINE COVERS AROUND THE WORLD, GRACED THE PAGES OF THE ICONIC SPORTS ILLUSTRATED SWIMSUIT ISSUE AND BECOME A VICTORIA’S SECRET ANGEL? HOLLYWOOD, NATURALLY. SUPERMODEL ANNE VYALITSYNA (AKA ANNE V. TO FASHION INSIDERS) IS SET TO MAKE HER ACTING DEBUT ALONGSIDE BRUCE WILLIS IN THE FIFTH INSTALLMENT OF THE LEGENDARY DIE HARD ACTION FRANCHISE, A GOOD DAY TO DIE HARD. SET FOR RELEASE ON FEBRUARY 14, 2013, THE WHOLE WORLD IS ABOUT TO BECOME ANNE’S VALENTINE. PHOTOGRAPHER ALEXANDER CRAIG STYLIST LOÏC MASI

OVERNIGHT SENSATION WHAT’S LEFT AFTER A GIRL’S DONE FASHION MAGAZINE COVERS AROUND THE WORLD, GRACED THE PAGES OF THE ICONIC SPORTS ILLUSTRATED SWIMSUIT ISSUE AND BECOME A VICTORIA’S SECRET ANGEL? HOLLYWOOD, NATURALLY. SUPERMODEL ANNE VYALITSYNA (AKA ANNE V. TO FASHION INSIDERS) IS SET TO MAKE HER ACTING DEBUT ALONGSIDE BRUCE WILLIS IN THE FIFTH INSTALLMENT OF THE LEGENDARY DIE HARD ACTION FRANCHISE, A GOOD DAY TO DIE HARD. SET FOR RELEASE ON FEBRUARY 14, 2013, THE WHOLE WORLD IS ABOUT TO BECOME ANNE’S VALENTINE. PHOTOGRAPHER ALEXANDER CRAIG STYLIST LOÏC MASI

EMILIO PUCCI

dress, KMO JEWEL necklace.(previous page) VALENTINO dress

EMILIO PUCCI

dress, KMO JEWEL necklace.(previous page) VALENTINO dress

STELLA MCCARTNEY dress, KMO JEWEL cuff.

(opposite page) ANTHONY VACARELLO top and pants, KMO jewel bangle, GIUSEPPE ZANOTTI DESIGN FOR ANTHONY VACARELLO shoes

STELLA MCCARTNEY dress, KMO JEWEL cuff.

(opposite page) ANTHONY VACARELLO top and pants, KMO jewel bangle, GIUSEPPE ZANOTTI DESIGN FOR ANTHONY VACARELLO shoes

7 HOLLYWOOD | FALL / WINTER 2012

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VERSACE dress Yumikoto Paris. Makeup Adam De Cruz/ Yumikoto Paris. Manicurist Katryn Charler. Stylist’s Assistants Mboko Mobutu, Tarek Bacha. Makeup Artist’s Assistant Céline De Cruz.

Retouching 2Db Creative.

Shot At Le Petit Oiseau Va Sortir, Paris. Digital Capture Stefano Poli/Digitartparis. Perfume Coco Mademoiselle All Cosmetics Courtesy Of Lancôme Paris (On Face) Teint Idole Ultra 24H In 100 Ivoire N, Ageless Minérale With White Sapphire Complex In Natural Ivory 10. (On Cheeks) Blush Subtil In Aplum. (On Eyes) Hypnôse Doll Lashes In 01 So Black! , Color Design Infinité 24H 601 Unlimited Silver And 602 Forever Noir (On Lips) Color Design Lipstick In Pale Lip. (On Nails) Vernis In Love 010M Cristal Quartz Fragrance Trésor Midnight Rose

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VERSACE dress Yumikoto Paris. Makeup Adam De Cruz/ Yumikoto Paris. Manicurist Katryn Charler. Stylist’s Assistants Mboko Mobutu, Tarek Bacha. Makeup Artist’s Assistant Céline De Cruz.

Retouching 2Db Creative.

Shot At Le Petit Oiseau Va Sortir, Paris. Digital Capture Stefano Poli/Digitartparis. Perfume Coco Mademoiselle All Cosmetics Courtesy Of Lancôme Paris (On Face) Teint Idole Ultra 24H In 100 Ivoire N, Ageless Minérale With White Sapphire Complex In Natural Ivory 10. (On Cheeks) Blush Subtil In Aplum. (On Eyes) Hypnôse Doll Lashes In 01 So Black! , Color Design Infinité 24H 601 Unlimited Silver And 602 Forever Noir (On Lips) Color Design Lipstick In Pale Lip. (On Nails) Vernis In Love 010M Cristal Quartz Fragrance Trésor Midnight Rose

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THE VILLAGE PEOPLE/LIVE AND SLEAZY (Casablanca Records, 1979) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

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THE VILLAGE PEOPLE/LIVE AND SLEAZY (Casablanca Records, 1979) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

METAL-MORPHÖSE wired. connected. matrixed.

METALLIC HUES AND TECHNOLOGICALLY INSPIRED ACCENTS PUSH WINTER 2013 BEAUTY IN A FUTURISTIC DIRECTION. SEE WHAT HAPPENS WHEN MAN EVOLVES THE MACHINE: AN INTIMATE LOOK AT THE SEASON’S MOST PLUGGED-IN LOOKS. PHOTOGRAPHER JOHN RYDER STYLIST JORDAN GROSSMAN

CHANEL

skin color noir lips GLOSSMER in sweet beige eyes mascara in intense noir

METAL-MORPHÖSE wired. connected. matrixed.

METALLIC HUES AND TECHNOLOGICALLY INSPIRED ACCENTS PUSH WINTER 2013 BEAUTY IN A FUTURISTIC DIRECTION. SEE WHAT HAPPENS WHEN MAN EVOLVES THE MACHINE: AN INTIMATE LOOK AT THE SEASON’S MOST PLUGGED-IN LOOKS. PHOTOGRAPHER JOHN RYDER STYLIST JORDAN GROSSMAN

CHANEL

skin color noir lips GLOSSMER in sweet beige eyes mascara in intense noir

ESTÉE LAUDER

Pure color lipstick eyes Cyber Mettalic

ESTÉE LAUDER

Pure color lipstick eyes Cyber Mettalic

JEAN PAUL GAULTIER Le Male skincare Prb Pr Mesh Chain. Models Alex Pb At Ford Men La, Athena Wilson At Ford La And Amanda Smith At Photogenics. Hair Terry Millet/ The Magnet Agency. Makeup Will Lemon/Bridge Artists.

Manicure Emi Kudo/Opus Beauty. Stylist’s Assistant Danii Alvarez. Special Thanks To Alex Shera .

JEAN PAUL GAULTIER Le Male skincare Prb Pr Mesh Chain. Models Alex Pb At Ford Men La, Athena Wilson At Ford La And Amanda Smith At Photogenics. Hair Terry Millet/ The Magnet Agency. Makeup Will Lemon/Bridge Artists.

Manicure Emi Kudo/Opus Beauty. Stylist’s Assistant Danii Alvarez. Special Thanks To Alex Shera .

HAUTE

ICON tomorrow

burning

SUPERMODEL SIGRID AGREN SHOWS OFF IN THE SEASON’S MOST EXQUISITE, EXTRAVAGANT AND ELECTRIFYING FALL/WINTER 2012 LOOKS FROM THE PARIS HAUTE COUTURE. FEATURING THE CHICEST SILHOUETTES FROM ARMANI, CHANEL, GAULTIER, VERSACE AND, OF COURSE, THE DEBUT OF RAF SIMONS’S VISIONARY FIRST COLLECTION FOR THE MAISON DIOR; PRESENTING AN EXCLUSIVE PORTFOLIO OF HIGH-OCTANE, INSANELY GLAMOROUS COUTURE CREATIONS. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI

CHRISTIAN DIOR 254

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HAUTE

ICON tomorrow

burning

SUPERMODEL SIGRID AGREN SHOWS OFF IN THE SEASON’S MOST EXQUISITE, EXTRAVAGANT AND ELECTRIFYING FALL/WINTER 2012 LOOKS FROM THE PARIS HAUTE COUTURE. FEATURING THE CHICEST SILHOUETTES FROM ARMANI, CHANEL, GAULTIER, VERSACE AND, OF COURSE, THE DEBUT OF RAF SIMONS’S VISIONARY FIRST COLLECTION FOR THE MAISON DIOR; PRESENTING AN EXCLUSIVE PORTFOLIO OF HIGH-OCTANE, INSANELY GLAMOROUS COUTURE CREATIONS. PHOTOGRAPHER ALIX MALKA STYLIST LOÏC MASI

CHRISTIAN DIOR 254

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GAULTIER PARIS

GAULTIER PARIS

ATELIER VERSACE

ATELIER VERSACE

ARMANI PRIVÉ

CHANEL

ARMANI PRIVÉ

CHANEL

GIAMBATTISTA VALLI

ELIE SAAB

GIAMBATTISTA VALLI

ELIE SAAB

(On Eyes) Estée Lauder Sumptuous Bold Volume™ Lifting Mascara, Fragrance Estée Lauder Sensuous Nude Eau De Parfum Spray, (On Cheeks) Estée Lauder Pure Color Blush In Pink Ingenue Model Sigrid Agren At Elite Paris. Hair Leila.a/ Yumikoto Paris.

Makeup Adam De Cruz/ Yumikoto Paris. Manicurist Katryn Charler. Stylist’s Assistants Mboko Mobutu, Tarek Bacha. Makeup Artist’s Assistant Céline De Cruz. Retouching 2Db CreativeShot At Le Petit Oiseau Va Sortir, Paris.

Digital Capture Stefano Poli/ Digitartparis

ALEXANDRE VAUTHIER

(On Eyes) Estée Lauder Sumptuous Bold Volume™ Lifting Mascara, Fragrance Estée Lauder Sensuous Nude Eau De Parfum Spray, (On Cheeks) Estée Lauder Pure Color Blush In Pink Ingenue Model Sigrid Agren At Elite Paris. Hair Leila.a/ Yumikoto Paris.

Makeup Adam De Cruz/ Yumikoto Paris. Manicurist Katryn Charler. Stylist’s Assistants Mboko Mobutu, Tarek Bacha. Makeup Artist’s Assistant Céline De Cruz. Retouching 2Db CreativeShot At Le Petit Oiseau Va Sortir, Paris.

Digital Capture Stefano Poli/ Digitartparis

ALEXANDRE VAUTHIER

ICON forever

“I have a woman’s body and a child’s emotions.”

ELIZABETH TAYLOR

ELIZABETH TAYLOR

photo Roddy McDowall [while getting her hair done}.

Courtesy the Collections of the Margaret Herrick Library.

ICON forever

“I have a woman’s body and a child’s emotions.”

ELIZABETH TAYLOR

ELIZABETH TAYLOR

photo Roddy McDowall [while getting her hair done}.

Courtesy the Collections of the Margaret Herrick Library.

heaven SCENT THE REVOLUTIONARY YET SENSUOUS MIX OF BERGAMOT, VANILLA, CHOCOLATE AND CARAMEL CREATED TWO DECADES AGO BY LEGENDARY FASHION ICON AND PERFUME INDUSTRY VISIONARY THIERRY MUGLER CONTINUES ITS REIGN AS ONE OF THE WORLD’S MOST DESIRABLE AND LUST-INDUCING FRAGRANCES.

women wanted to smell like. Mugler made women smell edible, creating a groundbreaking olfactory innovation that combined praline and chocolate-derived sweetness juxtaposed against a very powerful waft of patchouli. Not only was Angel the first oriental gourmand perfume, it was also an unprecedented color: blue, a shade more often associated with Windex® than fragrance.

As a testament to its revolutionary status, Angel remains an undeniably “love it or hate it” proposition (the same can still be said of Mugler’s designs, which continue to be simultaneously inspiring and controversial a decade after his retirement). Some women (and men) swear by Angel, while others start swearing whenever they smell it. Can the same be said for any other classic fragrance? After most scents have been around 20 years, people tend to associate them with their mothers, aunts and grandmothers, but thanks to Mugler’s enduring, boundary-breaking vision, Angel remains the signature scent of life’s most delicious indulgences: food, fashion and fornication.

© THIERRY MUGLER PARFUMS

“An exquisite pleasure had invaded my senses, something isolated, detached, with no suggestion of its origin.” —Marcel Proust, In Search of Lost Time Like the madeleine that triggered more than 4,000 pages of exquisitely rendered literary artistry in Proust’s groundbreaking novel, Mugler’s iconic fragrance was also instigated by a remembrance of its creator’s youth.

Mugler said his intention was to create “something close to tenderness, to childhood” with a sensual undercurrent so strong “that you almost feel like eating up the person you love.”

Added to that was his belief that Marlene Dietrich, aka “The Blue Angel,” was the ultimate star. So when the moment came to introduce his first fragrance, all the ingredients were there: delectability, stardom, sex, a color and, of course, a name: Angel.

It took two years to develop the scent as well as the technically complex faceted star bottle (designed by Mugler, created by Brosse Master Glassmakers). When Angel was introduced in 1992, it was a total break from the history of commercial fragrance. As iconoclastic as Mugler was with his wasp-waisted, bug-eyed, super-heroine–inspired fashion, he broke even more rules with this scent. Angel was a radical departure from what everyone who was anyone thought they knew about what

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heaven SCENT THE REVOLUTIONARY YET SENSUOUS MIX OF BERGAMOT, VANILLA, CHOCOLATE AND CARAMEL CREATED TWO DECADES AGO BY LEGENDARY FASHION ICON AND PERFUME INDUSTRY VISIONARY THIERRY MUGLER CONTINUES ITS REIGN AS ONE OF THE WORLD’S MOST DESIRABLE AND LUST-INDUCING FRAGRANCES.

women wanted to smell like. Mugler made women smell edible, creating a groundbreaking olfactory innovation that combined praline and chocolate-derived sweetness juxtaposed against a very powerful waft of patchouli. Not only was Angel the first oriental gourmand perfume, it was also an unprecedented color: blue, a shade more often associated with Windex® than fragrance.

As a testament to its revolutionary status, Angel remains an undeniably “love it or hate it” proposition (the same can still be said of Mugler’s designs, which continue to be simultaneously inspiring and controversial a decade after his retirement). Some women (and men) swear by Angel, while others start swearing whenever they smell it. Can the same be said for any other classic fragrance? After most scents have been around 20 years, people tend to associate them with their mothers, aunts and grandmothers, but thanks to Mugler’s enduring, boundary-breaking vision, Angel remains the signature scent of life’s most delicious indulgences: food, fashion and fornication.

© THIERRY MUGLER PARFUMS

“An exquisite pleasure had invaded my senses, something isolated, detached, with no suggestion of its origin.” —Marcel Proust, In Search of Lost Time Like the madeleine that triggered more than 4,000 pages of exquisitely rendered literary artistry in Proust’s groundbreaking novel, Mugler’s iconic fragrance was also instigated by a remembrance of its creator’s youth.

Mugler said his intention was to create “something close to tenderness, to childhood” with a sensual undercurrent so strong “that you almost feel like eating up the person you love.”

Added to that was his belief that Marlene Dietrich, aka “The Blue Angel,” was the ultimate star. So when the moment came to introduce his first fragrance, all the ingredients were there: delectability, stardom, sex, a color and, of course, a name: Angel.

It took two years to develop the scent as well as the technically complex faceted star bottle (designed by Mugler, created by Brosse Master Glassmakers). When Angel was introduced in 1992, it was a total break from the history of commercial fragrance. As iconoclastic as Mugler was with his wasp-waisted, bug-eyed, super-heroine–inspired fashion, he broke even more rules with this scent. Angel was a radical departure from what everyone who was anyone thought they knew about what

268

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NICHOLAS ALAN COPE + DUSTIN EDWARD ARNOLD CREATING WORKS OF RIGOROUS REFINEMENT AND MONASTIC MINIMALISM WITH CUTTING-EDGE TECHNOLOGY, TWO YOUNG LOS ANGELES ARTISTS ARE BUILDING A NAME FOR THEMSELVES BY MERGING THE DISPARATE MEDIUMS OF INSTALLATION, CHEMISTRY, SCULPTURE, FASHION AND PAINTING TO GENERATE IMAGES THAT MARRY CLASSICAL TROPES WITH CONTEMPORARY TECHNIQUE. AS LOS ANGELES TAKES ITS PLACE AS ONE OF THE ART WORLD’S INNOVATIVE ENGINES, COPE AND ARNOLD’S STRIPPED DOWN YET VISUALLY RICH AESTHETIC DESERVES NOTICE AS ONE OF THE TOWN’S MOST DYNAMICALLY DARING DUOS. BY CHARLES VON SCHOLL

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NICHOLAS ALAN COPE + DUSTIN EDWARD ARNOLD CREATING WORKS OF RIGOROUS REFINEMENT AND MONASTIC MINIMALISM WITH CUTTING-EDGE TECHNOLOGY, TWO YOUNG LOS ANGELES ARTISTS ARE BUILDING A NAME FOR THEMSELVES BY MERGING THE DISPARATE MEDIUMS OF INSTALLATION, CHEMISTRY, SCULPTURE, FASHION AND PAINTING TO GENERATE IMAGES THAT MARRY CLASSICAL TROPES WITH CONTEMPORARY TECHNIQUE. AS LOS ANGELES TAKES ITS PLACE AS ONE OF THE ART WORLD’S INNOVATIVE ENGINES, COPE AND ARNOLD’S STRIPPED DOWN YET VISUALLY RICH AESTHETIC DESERVES NOTICE AS ONE OF THE TOWN’S MOST DYNAMICALLY DARING DUOS. BY CHARLES VON SCHOLL

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“It’s like we both had the same interests,” says Dustin Edward Arnold, 50 percent of the LA art scene’s maverick multi-medium art duo Cope and Arnold. “We’re coming at it from two different angles. It was this nice convergence that hearkened the kind of results that we were both looking for but never really got the right opportunity to do.” Alumnae of Southern California’s prestigious Art Center, Dustin and Nicholas met when the former attended the latter’s graduation show. Explains Nicholas, “Dustin subsequently hired me to do a shoot, and then, not long after, we started talking about doing some projects; started working just on personal work.”

Cope and Arnold’s professional partnership was sealed after Nicholas suggested that they take pictures of some sculptures Dustin had been working on. Inspired by his friend’s work, Nick proposed that they create an environment to go around the sculptures. “We actually drove up to my parents’,” says Dustin, “because my parents have a big barn, so we didn’t have to rent a studio. And we set up one of the cloth sculptures; they were these pieces made out of all this rotting fabric that I had buried and done all these chemical treatments to, so I had leftovers. And we had this sculpture, and we had all this rotting fabric, and we just kind of scrounged around my parents’ property and found pieces that we could make a little set out of,’ We just set it up, shot the picture, and we were both, like, ‘This is fucking awesome.’”

Excited and surprised by the results of their initial collaboration, Cope and Arnold ended up finishing three images that particular weekend. Continues Dustin: “After that, Nick was, like, ‘Dude, we should do a series all based off of this aesthetic that we’ve like kind of come up with over the weekend.’”

From that one weekend, their collaboration has produced a septet of what they describe as “projects.” Putesco from 2009 serves as a baseline for the pair’s aesthetic with its thought-provoking presentation of decaying objects presented with all the solemnity of Renaissance still lifes. Their first foray into the abstract, 2010’s Aether, pushed their visuals in a wholly new direction by mixing their mutual fascinations with photography, painting and chemistry to create images that depart fully from classical ideals of photographic composition. Later that same year, Cope and Arnold fully realized their collaborative potential with Stamen, an abstract interpretation

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of what in less talented hands could come off as mundane or, even worse, trite: floral arrangements. In particular, an image of hibiscus dissolving into wafts of color that, at first glance, could be taken for actual brushstrokes is a masterful marriage of old-world refinement with 21st century methodology.

Experimenting with fashion-related imagery in 2011’s Vedas, Cope and Arnold achieve a Zen-like, elegantly ecclesiastical solemnity. In direct contrast to the vast majority of photographers shooting fashion, they chose to create the garments themselves. Explains Dustin, “I think most of our kind of creation comes from us not wanting to compromise—almost kind of like a selfish thing. We don’t know how to really make clothes, but we know how to make things that appear to be clothing. So we sew as we go. The point of the images isn’t to show that we’re showing, like, Rick Owens or whatever. It’s more like the clothing as ideas, and expressing those ideas through images.”

Asked to elaborate on the trajectory of their work and their mutual desire to conjure wholly immersive environments, Nicholas says, “I think every project is almost like a response to something that we’ve done in the past. Maybe in one project we learn a certain technique or we do something really well, and the next project is almost a reaction against that; we’re elaborating on that. What’s a little bit different about it is that, rather than shooting a thing, we’re creating the thing, and then we’re photographing it. There’s a lot of variance [in our work] and, okay, now we’re doing figurative stuff that’s based around the body. And then there’s another project that’s just completely about atmospheres. There’s another project that’s about creating an environment. So it really starts to build its own universe.”

Despite their lack of interest in shooting other designers’ work, both Cope and Arnold’s aesthetic is a natural evolution of late ’80s and early ’90s Belgian minimalism à la Margiela.

Says Nicholas, “We’ve talked about Margiela so many times. I think we’re definitely aware of it.” In addition to the mysterious Monsieur Margiela, Cope and Arnold are also influenced by one of the 20th century’s greatest fashion and still life photographers, Irving Penn. “In my mind, he’s kind of the best of everything,” says Nicholas. As for Dustin, he mentions a diverse range of inspirations, from fashion designer turned photographer turned fashion designer

Hedi Slimane, to architectural photographer Grant Mudford, to Lewis Baltz, master of the New Topographics movement.

While they may strive to create hermetically sealed environments of their own creation, Cope and Arnold aren’t opposed to inviting others into their universe. “We just shot kind of an image campaign,” says Dustin, “an art project for Alexandre Plokhov. The look and feel that was developed for that, the visual language, was carried into his Spring/ Summer presentation.” He continues on to describe their upcoming projects, which include a “fashion oriented project called Restraint, where we’re designing sets and garments made out of basically plaster and rubber-dipped things. Another thing that we’re working on is taking Comme des Garçons graphic Ts from the “Play” line, and then we’re kind of re-envisioning them and making bigger sculptural, wearable pieces. We wanted to physically use the visual—like sort of mine the references that Comme des Garçons finds and use those products in order to make these things. So it’s also like—like even way down to the styling of the girl and stuff like that, it’s gonna kind of like live in that world, basically like clown dresses.” He pauses to clarify: “It’s like polka dots and stuff.”

Even with busy schedules that take them around the world, they’ve chosen to continue to make Los Angeles their home base. “I think it’s the most free city that you can live in, really,” says Dustin. “It’s not so stressful as New York, so that you can actually experiment with your projects rather than having to worry so much about, like, ‘I gotta get this done to pay rent.’” Adds Nicholas, “I am from the East Coast originally, but I’ve lived out here for almost 10 years now. I’ve really grown to love this town. Again, like Dustin was saying, it just allows you to make it into what you want it to be; whereas New York, you kind of have to conform with the city. Here you can really make your own world. Honestly, it’s better. It’s a better city to make art in.”

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“It’s like we both had the same interests,” says Dustin Edward Arnold, 50 percent of the LA art scene’s maverick multi-medium art duo Cope and Arnold. “We’re coming at it from two different angles. It was this nice convergence that hearkened the kind of results that we were both looking for but never really got the right opportunity to do.” Alumnae of Southern California’s prestigious Art Center, Dustin and Nicholas met when the former attended the latter’s graduation show. Explains Nicholas, “Dustin subsequently hired me to do a shoot, and then, not long after, we started talking about doing some projects; started working just on personal work.”

Cope and Arnold’s professional partnership was sealed after Nicholas suggested that they take pictures of some sculptures Dustin had been working on. Inspired by his friend’s work, Nick proposed that they create an environment to go around the sculptures. “We actually drove up to my parents’,” says Dustin, “because my parents have a big barn, so we didn’t have to rent a studio. And we set up one of the cloth sculptures; they were these pieces made out of all this rotting fabric that I had buried and done all these chemical treatments to, so I had leftovers. And we had this sculpture, and we had all this rotting fabric, and we just kind of scrounged around my parents’ property and found pieces that we could make a little set out of,’ We just set it up, shot the picture, and we were both, like, ‘This is fucking awesome.’”

Excited and surprised by the results of their initial collaboration, Cope and Arnold ended up finishing three images that particular weekend. Continues Dustin: “After that, Nick was, like, ‘Dude, we should do a series all based off of this aesthetic that we’ve like kind of come up with over the weekend.’”

From that one weekend, their collaboration has produced a septet of what they describe as “projects.” Putesco from 2009 serves as a baseline for the pair’s aesthetic with its thought-provoking presentation of decaying objects presented with all the solemnity of Renaissance still lifes. Their first foray into the abstract, 2010’s Aether, pushed their visuals in a wholly new direction by mixing their mutual fascinations with photography, painting and chemistry to create images that depart fully from classical ideals of photographic composition. Later that same year, Cope and Arnold fully realized their collaborative potential with Stamen, an abstract interpretation

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of what in less talented hands could come off as mundane or, even worse, trite: floral arrangements. In particular, an image of hibiscus dissolving into wafts of color that, at first glance, could be taken for actual brushstrokes is a masterful marriage of old-world refinement with 21st century methodology.

Experimenting with fashion-related imagery in 2011’s Vedas, Cope and Arnold achieve a Zen-like, elegantly ecclesiastical solemnity. In direct contrast to the vast majority of photographers shooting fashion, they chose to create the garments themselves. Explains Dustin, “I think most of our kind of creation comes from us not wanting to compromise—almost kind of like a selfish thing. We don’t know how to really make clothes, but we know how to make things that appear to be clothing. So we sew as we go. The point of the images isn’t to show that we’re showing, like, Rick Owens or whatever. It’s more like the clothing as ideas, and expressing those ideas through images.”

Asked to elaborate on the trajectory of their work and their mutual desire to conjure wholly immersive environments, Nicholas says, “I think every project is almost like a response to something that we’ve done in the past. Maybe in one project we learn a certain technique or we do something really well, and the next project is almost a reaction against that; we’re elaborating on that. What’s a little bit different about it is that, rather than shooting a thing, we’re creating the thing, and then we’re photographing it. There’s a lot of variance [in our work] and, okay, now we’re doing figurative stuff that’s based around the body. And then there’s another project that’s just completely about atmospheres. There’s another project that’s about creating an environment. So it really starts to build its own universe.”

Despite their lack of interest in shooting other designers’ work, both Cope and Arnold’s aesthetic is a natural evolution of late ’80s and early ’90s Belgian minimalism à la Margiela.

Says Nicholas, “We’ve talked about Margiela so many times. I think we’re definitely aware of it.” In addition to the mysterious Monsieur Margiela, Cope and Arnold are also influenced by one of the 20th century’s greatest fashion and still life photographers, Irving Penn. “In my mind, he’s kind of the best of everything,” says Nicholas. As for Dustin, he mentions a diverse range of inspirations, from fashion designer turned photographer turned fashion designer

Hedi Slimane, to architectural photographer Grant Mudford, to Lewis Baltz, master of the New Topographics movement.

While they may strive to create hermetically sealed environments of their own creation, Cope and Arnold aren’t opposed to inviting others into their universe. “We just shot kind of an image campaign,” says Dustin, “an art project for Alexandre Plokhov. The look and feel that was developed for that, the visual language, was carried into his Spring/ Summer presentation.” He continues on to describe their upcoming projects, which include a “fashion oriented project called Restraint, where we’re designing sets and garments made out of basically plaster and rubber-dipped things. Another thing that we’re working on is taking Comme des Garçons graphic Ts from the “Play” line, and then we’re kind of re-envisioning them and making bigger sculptural, wearable pieces. We wanted to physically use the visual—like sort of mine the references that Comme des Garçons finds and use those products in order to make these things. So it’s also like—like even way down to the styling of the girl and stuff like that, it’s gonna kind of like live in that world, basically like clown dresses.” He pauses to clarify: “It’s like polka dots and stuff.”

Even with busy schedules that take them around the world, they’ve chosen to continue to make Los Angeles their home base. “I think it’s the most free city that you can live in, really,” says Dustin. “It’s not so stressful as New York, so that you can actually experiment with your projects rather than having to worry so much about, like, ‘I gotta get this done to pay rent.’” Adds Nicholas, “I am from the East Coast originally, but I’ve lived out here for almost 10 years now. I’ve really grown to love this town. Again, like Dustin was saying, it just allows you to make it into what you want it to be; whereas New York, you kind of have to conform with the city. Here you can really make your own world. Honestly, it’s better. It’s a better city to make art in.”

7 HOLLYWOOD FALL| 2012 FALL |/ WINTER 7HOLLYWOOD 2012

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276 7 HOLLYWOOD | FALL / WINTER 2012 CHER / TAKE ME HOME(Casablanca, 1979) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

276 7 HOLLYWOOD | FALL / WINTER 2012 CHER / TAKE ME HOME(Casablanca, 1979) from Rock ’N’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City Press

VERSACE

silver dress

the playgirl

ANGELA LINDVALL

TAKING HER CUE FROM JESSICA RABBIT’S IMMORTAL “I’M NOT BAD, I’M JUST DRAWN THAT WAY,” PLAYBOY PINUP PROVOCATEUR OLIVIA DE BERARDINIS PAINTS LEGENDARY SUPERMODEL ANGELA LINDVALL IN AN EXCLUSIVE FASHION-MEETS-FANTASY TAKE ON THE SEASON'S STRONGEST LOOKS. PHOTOGRAPHER ALIX MALKA ILLUSTRATION OLIVIA DE BERARDINIS

VERSACE

silver dress

the playgirl

ANGELA LINDVALL

TAKING HER CUE FROM JESSICA RABBIT’S IMMORTAL “I’M NOT BAD, I’M JUST DRAWN THAT WAY,” PLAYBOY PINUP PROVOCATEUR OLIVIA DE BERARDINIS PAINTS LEGENDARY SUPERMODEL ANGELA LINDVALL IN AN EXCLUSIVE FASHION-MEETS-FANTASY TAKE ON THE SEASON'S STRONGEST LOOKS. PHOTOGRAPHER ALIX MALKA ILLUSTRATION OLIVIA DE BERARDINIS

COMME DES GARÇONS coat, ZAHIA COLLECTION Bathing Suit REPETTO shoes

LANVIN

dress and necklace

COMME DES GARÇONS coat, ZAHIA COLLECTION Bathing Suit REPETTO shoes

LANVIN

dress and necklace

GUCCI

evening gown

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7 HOLLYWOOD | FALL / WINTER 2012

GUCCI

evening gown

282

7 HOLLYWOOD | FALL / WINTER 2012

ZAHIA COLLECTION

dress

ZAHIA COLLECTION top and skirt

Hair Richard Marin, Make Up Francesca Tolot, Manicurist Emi Kudo, Set Design Jason Mcknight, Shot at Smashbox Studios, Capture by Smashbox Studios, Special thanks to Joel Beren, Ali/Women NY, Masha/ Station Service

ZAHIA COLLECTION

dress

ZAHIA COLLECTION top and skirt

Hair Richard Marin, Make Up Francesca Tolot, Manicurist Emi Kudo, Set Design Jason Mcknight, Shot at Smashbox Studios, Capture by Smashbox Studios, Special thanks to Joel Beren, Ali/Women NY, Masha/ Station Service

SWAGGER Do Clothes Make The Man?

THE DEBATE RAGES ON AND ON. WHILE PHILOSOPHERS AND ANTHROPOLOGISTS ARGUE THE FINER POINTS OF THAT PARTICULAR QUESTION, DESIGNERS FROM NEW YORK TO LONDON, MILAN AND PARIS PROPOSED FALL/WINTER 2012 MENSWEAR COLLECTIONS WITH TRENDS RANGING FROM TAILORED TWEEDS TO SPORT CHIC TO POP PRINTS AND BEYOND. EXPLORE THE SEASON’S MALE MUSTS IN AN EXCLUSIVE PORTFOLIO STARRING THE MEN OF THE MOMENT. PHOTOGRAPHER JOHN RYDER STYLIST LOÏC MASI

DSQUARED 2

jacket, waistcoat, and cap,coat CHRISTOPHE LEMAIRE, gloves BOSS BLACK

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SWAGGER Do Clothes Make The Man?

THE DEBATE RAGES ON AND ON. WHILE PHILOSOPHERS AND ANTHROPOLOGISTS ARGUE THE FINER POINTS OF THAT PARTICULAR QUESTION, DESIGNERS FROM NEW YORK TO LONDON, MILAN AND PARIS PROPOSED FALL/WINTER 2012 MENSWEAR COLLECTIONS WITH TRENDS RANGING FROM TAILORED TWEEDS TO SPORT CHIC TO POP PRINTS AND BEYOND. EXPLORE THE SEASON’S MALE MUSTS IN AN EXCLUSIVE PORTFOLIO STARRING THE MEN OF THE MOMENT. PHOTOGRAPHER JOHN RYDER STYLIST LOÏC MASI

DSQUARED 2

jacket, waistcoat, and cap,coat CHRISTOPHE LEMAIRE, gloves BOSS BLACK

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7 HOLLYWOOD | FALL 2012 / WINTER 2012

JEAN PAUL GAULTIER

fur jacket, sweatshirt and pants GIUSEPPE ZANOTTI DESIGN sneakers (left) VALENTINO coat, pants and roll-neck sweater, OLIVER PEOPLES eyewear, AGNELLE gloves. (far left) CHRISTOPHE LEMAIRE coat, RALPH LAUREN BLACK LABEL roll-neck sweater.

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JEAN PAUL GAULTIER

fur jacket, sweatshirt and pants GIUSEPPE ZANOTTI DESIGN sneakers (left) VALENTINO coat, pants and roll-neck sweater, OLIVER PEOPLES eyewear, AGNELLE gloves. (far left) CHRISTOPHE LEMAIRE coat, RALPH LAUREN BLACK LABEL roll-neck sweater.

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DIOR HOMME

trench coat, shirt, cap and sunglasses (opposite) VIVIENNE WESTWOOD suit and shirt

290

7 HOLLYWOOD | FALL / WINTER 2012

DIOR HOMME

trench coat, shirt, cap and sunglasses (opposite) VIVIENNE WESTWOOD suit and shirt

290

7 HOLLYWOOD | FALL / WINTER 2012

LANVIN

sweater and pants (left) RALPH LAUREN BLACK LABEL double-breasted jacket and bow tie, CHARVET shirt and cufflinks (far left) GIORGIO ARMANI jacket and shirt, DOLCE & GABBANA tie.

Hair Leila.a/ Yumikoto Paris. Grooming Victoria Monvoisin. Stylist’s Assistants Mboko Mobutu, Tarek Bacha. Hair Stylist’s Assistant Luciano Corcovado. Retouching Lunatix. Shot At: Le Petit Oiseau Va Sortir,

7 HOLLYWOOD | FALL / WINTER 2012

293

LANVIN

sweater and pants (left) RALPH LAUREN BLACK LABEL double-breasted jacket and bow tie, CHARVET shirt and cufflinks (far left) GIORGIO ARMANI jacket and shirt, DOLCE & GABBANA tie.

Hair Leila.a/ Yumikoto Paris. Grooming Victoria Monvoisin. Stylist’s Assistants Mboko Mobutu, Tarek Bacha. Hair Stylist’s Assistant Luciano Corcovado. Retouching Lunatix. Shot At: Le Petit Oiseau Va Sortir,

7 HOLLYWOOD | FALL / WINTER 2012

293

(oppostie page) ANNA PIAGGI, 1986, ANNA PIAGGI AND FASHION HISTORIAN VERN LAMBERT, 1986

ANNA

ciao,

FOR MORE THAN 50 YEARS, ANNA PIAGGI WAS THE PATRON SAINT OF STYLE. AS A RENOWNED EDITOR, JOURNALIST, STYLIST, COLLECTOR, MUSE AND ICON, SHE CULTIVATED A DEVOTED COTERIE OF COLLABORATORS, FRIENDS AND ADMIRERS, INCLUDING KARL LAGERFELD, STEPHEN JONES, MANOLO BLAHNIK, STELLA MCCARTNEY, VIVIENNE WESTWOOD, STEFANO GABBANA, BILL CUNNINGHAM AND HER HUSBAND OF 33 YEARS, PHOTOGRAPHER ALFA CASTALDI. PHOTOGRAPHY WAYNE STAMBLER BY JOYCE PENNELL

Celebrated internationally for her idiosyncratic style (she once wore a McDonald’s uniform as a fashion statement), encyclopedic knowledge of sartorial history and uncanny knack for forecasting trends, Anna Piaggi was one of the world’s greatest fashion arbiters until her death on August 7, 2012, at her home in Milan.

A legend in her own time who embodied the word “flair,” Anna once claimed she hadn’t left home since the 1980s sans chapeau. With her characteristic bright fur stoles and boas, layered patterns and ubiquitous cane, she was a fixture at runway shows, often overshadowing the models on the catwalk. In a sense, she was the show, with editors and photographers more interested in what she was wearing than what the designer was showing. In 2006, she was quoted as saying, “I never wear the same thing twice in public.

… It looks like everything is just put together in a haphazard way—but no, it is very carefully thought out.”

Her eclectic, eccentric and electric approach to style was lavishly praised by Dolce & Gabbana, who considered her a true icon with a highly personal and recognizable style. She was the Coltrane of fashion, a genius improviser, piecing garments together into ensembles that told stories. Stephen Jones once said, “It doesn’t have to be Dior with Anna. She’s always worn 1920s shoes with Dolce trousers and a vintage Patou coat and a plastic belt, and a ski pole for a walking stick and crazy blue hair and a funny hat. She’s about the possibility of what fashion can be.” She dressed to please absolutely no one but herself. Her great friend and admirer, Karl Lagerfeld, for whom she served as muse (he sketched her more than 200 times, resulting in

the 1986 publication of Lagerfeld’s Sketchbook: Karl Lagerfeld’s Illustrated Fashion Journal of Anna Piaggi) recognized her approach to clothing as theatrical art: “She’s a great performer, but she is also the author of the play.”

Like Diana Vreeland before her, Anna exuded a larger-than-life presence and multiplied her extraordinary fashion sense to infinity through a ubiquitous media presence. The “godmother” of stylish iconoclasts Daphne Guinness and the late Isabella Blow, she paved the way for a new generation of daring dressers ranging from Michelle Harper and Anna Dello Russo to a pop-star constellation of sartorial individualists like Lady Gaga, Nicki Minaj, Cindy Lauper, Gwen Stefani and Katy Perry.

Perhaps Bill Cunningham summed up her extraordinary life best: “I think she’s a poet of clothes, a very fine poet.”

7 HOLLYWOOD | FALL / WINTER 2012

295

(oppostie page) ANNA PIAGGI, 1986, ANNA PIAGGI AND FASHION HISTORIAN VERN LAMBERT, 1986

ANNA

ciao,

FOR MORE THAN 50 YEARS, ANNA PIAGGI WAS THE PATRON SAINT OF STYLE. AS A RENOWNED EDITOR, JOURNALIST, STYLIST, COLLECTOR, MUSE AND ICON, SHE CULTIVATED A DEVOTED COTERIE OF COLLABORATORS, FRIENDS AND ADMIRERS, INCLUDING KARL LAGERFELD, STEPHEN JONES, MANOLO BLAHNIK, STELLA MCCARTNEY, VIVIENNE WESTWOOD, STEFANO GABBANA, BILL CUNNINGHAM AND HER HUSBAND OF 33 YEARS, PHOTOGRAPHER ALFA CASTALDI. PHOTOGRAPHY WAYNE STAMBLER BY JOYCE PENNELL

Celebrated internationally for her idiosyncratic style (she once wore a McDonald’s uniform as a fashion statement), encyclopedic knowledge of sartorial history and uncanny knack for forecasting trends, Anna Piaggi was one of the world’s greatest fashion arbiters until her death on August 7, 2012, at her home in Milan.

A legend in her own time who embodied the word “flair,” Anna once claimed she hadn’t left home since the 1980s sans chapeau. With her characteristic bright fur stoles and boas, layered patterns and ubiquitous cane, she was a fixture at runway shows, often overshadowing the models on the catwalk. In a sense, she was the show, with editors and photographers more interested in what she was wearing than what the designer was showing. In 2006, she was quoted as saying, “I never wear the same thing twice in public.

… It looks like everything is just put together in a haphazard way—but no, it is very carefully thought out.”

Her eclectic, eccentric and electric approach to style was lavishly praised by Dolce & Gabbana, who considered her a true icon with a highly personal and recognizable style. She was the Coltrane of fashion, a genius improviser, piecing garments together into ensembles that told stories. Stephen Jones once said, “It doesn’t have to be Dior with Anna. She’s always worn 1920s shoes with Dolce trousers and a vintage Patou coat and a plastic belt, and a ski pole for a walking stick and crazy blue hair and a funny hat. She’s about the possibility of what fashion can be.” She dressed to please absolutely no one but herself. Her great friend and admirer, Karl Lagerfeld, for whom she served as muse (he sketched her more than 200 times, resulting in

the 1986 publication of Lagerfeld’s Sketchbook: Karl Lagerfeld’s Illustrated Fashion Journal of Anna Piaggi) recognized her approach to clothing as theatrical art: “She’s a great performer, but she is also the author of the play.”

Like Diana Vreeland before her, Anna exuded a larger-than-life presence and multiplied her extraordinary fashion sense to infinity through a ubiquitous media presence. The “godmother” of stylish iconoclasts Daphne Guinness and the late Isabella Blow, she paved the way for a new generation of daring dressers ranging from Michelle Harper and Anna Dello Russo to a pop-star constellation of sartorial individualists like Lady Gaga, Nicki Minaj, Cindy Lauper, Gwen Stefani and Katy Perry.

Perhaps Bill Cunningham summed up her extraordinary life best: “I think she’s a poet of clothes, a very fine poet.”

7 HOLLYWOOD | FALL / WINTER 2012

295

la vie en rose

HOORAY FOR HOLLYWOOD “Glamour: the which (sic) I would like to know the meaning of,” Marlene Dietrich wrote crisply under the section titled “G” in a 1961 booklet irreverently spelling out her take on the alphabet.

Glamour, of course, can be so very many things. As I still process what showed during fashion weeks in New York, London, Milan and Paris, the topic has threaded some recent chats even among friends who have no interest by way of paycheck or personal wardrobe in either fashion or glamour. One inescapable conversation starter is my latest book, a quasi-anthropological study of the subject with its foremost practitioner Dita Von Teese, whose consummate devotion to living according to the elaborate styles and manners of another more, well, seemingly glamorous time is a constant point of fascination among strangers and friends alike (“Yes, even behind doors, she always looks that good…”).

Some of the talk came about because of the lavish documentary on Diana Vreeland (Diana Vreeland: The Eye Has to Travel) by her granddaughter-in-law Lisa Immordino Vreeland. If you were waiting to catch it on DVD that really is too bad: It’s a visual binge worthy of the subject and deserves a viewing on a screen matching her personality. In the courtyard of the Los Angeles County Museum of Art, following an advance screening there, Peggy Moffitt and Jacqueline Bisset—two glamour beacons in their own right—shared with me over pencil-thin cigarettes and inky merlot their own wacky tales of meeting D.V. (I forwent both vices for that glamour standard, champagne). The director joined us and

296

7 HOLLYWOOD | FALL / WINTER 2012

soon confided to me that despite being married into the family, she didn’t think the legendary editor would have cared much for her.

“I’m not exactly her idea of glamour,” this tall and beautiful and brilliant woman said with a self-effacing smile. She was probably right.

Glamour is certainly part of the job description for the moderately blessed so-andso’s living within a 10-minute drive from LACMA to their agent’s office. With the award season now underway and so many premieres in the next weeks for the “serious” nominee hopefuls, only to be followed by more parties bookending each of the countless ceremonies and finally climaxing with Oscar, there will be reasons galore for these stars, aspiring and established, to get their glam on. Honing in on what will elicit a barrage of paparazzi flashes and editorial pages is the name of the game.

The most formidable contender in this turf war would have to be Paris. That is the sense I get when I’ve dared to slip among my Frenchie pals in the fashion industry that what regularly marches down the runway owes so much to Travis Banton, Irene Sharaff, Walter Plunkett, Robert Kalloch and the other wizards of silver screen style. Without them, where would so many contemporary fashion designers be?

Oh sure, what designer doesn’t namecheck Adrian or Edith Head as inspiration.

Certainly, too, the Hollywood cinema owes much to ateliers far outside its imaginary borders. Any fashion student worth his or her salt knows that one of Paris’s own Hubert de Givenchy was instrumental in defining Au-

drey Hepburn’s look in just about every one of her films, including fitting her in the most iconic LBD of all time: that endless column topped with strands of pearls in Breakfast at Tiffany’s. Yves Saint Laurent would similarly act as a collaborator with Catherine Deneuve in Belle du Jour. (Forget even citing Gabrielle Chanel’s much ballyhooed yet inevitably ill-fated stint in Hollywood to dress Gloria Swanson. That it’s a footnote, and barely that, in both Hollywood and Chanel’s history proves the point.)

But where would Saint Laurent be without Banton’s creation of a tuxedoed Dietrich in 1930’s Morocco, let alone her subsequent gender-bending looks on and off screen?

They remain standard bearers of the height of sophistication. Despite decades of lax reporting that Givenchy dressed Hepburn for Sabrina, as with most other fashioncentric films since then—with press machines touting a fashion designer’s involvement over that of the costume designer doing the heavy lifting—the couturier contributed some looks to Ms. Hepburn’s overall wardrobe. It was Ms. Head who mostly costumed Ms. Hepburn in that 1954 gem, including those black toreador slacks and flat ballet slippers that have become another staple combo of the chic wardrobe.

Yet to suggest that so much of the glamour coming out of French fashion houses owe Hollywood’s costume designers props? What Gaul. I may have as well declared that anyone other than one of France’s native sons invented haute cuisine. Likewise, my French pals are steadfast that while they might adore cine-

EDITH HEAD (CA. 1955), courtesy The Collections Of The Margaret Herrick Library

SEASON AFTER AWARD SEASON, THE TRIUMPH AD NAUSEAM AMONG SPECTATORS OF THIS TOURNAMENT OF GLAD RAGS IS THE ANODYNE GESTURE TO THAT GRAND TRIED AND TRUE MUSE, OLD HOLLYWOOD GLAMOUR. EVEN THE NEW KIND, THE KIND PERSONIFIED BY THE STRATOSPHERIC LIKES OF PRETTY YOUNG THINGS SUCH AS CAREY MULLIGAN, ELLE FANNING AND EMMA WATSON ARE ALWAYS GIVEN “BEST OF SHOW” WHEN CHANNELING SOMETHING THEIR STYLISTS SPOTTED LATE NIGHT ON TURNER CLASSIC MOVIES. JUST DON’T TELL THE FRENCH THAT.

BY ROSE APODACA

la vie en rose

HOORAY FOR HOLLYWOOD “Glamour: the which (sic) I would like to know the meaning of,” Marlene Dietrich wrote crisply under the section titled “G” in a 1961 booklet irreverently spelling out her take on the alphabet.

Glamour, of course, can be so very many things. As I still process what showed during fashion weeks in New York, London, Milan and Paris, the topic has threaded some recent chats even among friends who have no interest by way of paycheck or personal wardrobe in either fashion or glamour. One inescapable conversation starter is my latest book, a quasi-anthropological study of the subject with its foremost practitioner Dita Von Teese, whose consummate devotion to living according to the elaborate styles and manners of another more, well, seemingly glamorous time is a constant point of fascination among strangers and friends alike (“Yes, even behind doors, she always looks that good…”).

Some of the talk came about because of the lavish documentary on Diana Vreeland (Diana Vreeland: The Eye Has to Travel) by her granddaughter-in-law Lisa Immordino Vreeland. If you were waiting to catch it on DVD that really is too bad: It’s a visual binge worthy of the subject and deserves a viewing on a screen matching her personality. In the courtyard of the Los Angeles County Museum of Art, following an advance screening there, Peggy Moffitt and Jacqueline Bisset—two glamour beacons in their own right—shared with me over pencil-thin cigarettes and inky merlot their own wacky tales of meeting D.V. (I forwent both vices for that glamour standard, champagne). The director joined us and

296

7 HOLLYWOOD | FALL / WINTER 2012

soon confided to me that despite being married into the family, she didn’t think the legendary editor would have cared much for her.

“I’m not exactly her idea of glamour,” this tall and beautiful and brilliant woman said with a self-effacing smile. She was probably right.

Glamour is certainly part of the job description for the moderately blessed so-andso’s living within a 10-minute drive from LACMA to their agent’s office. With the award season now underway and so many premieres in the next weeks for the “serious” nominee hopefuls, only to be followed by more parties bookending each of the countless ceremonies and finally climaxing with Oscar, there will be reasons galore for these stars, aspiring and established, to get their glam on. Honing in on what will elicit a barrage of paparazzi flashes and editorial pages is the name of the game.

The most formidable contender in this turf war would have to be Paris. That is the sense I get when I’ve dared to slip among my Frenchie pals in the fashion industry that what regularly marches down the runway owes so much to Travis Banton, Irene Sharaff, Walter Plunkett, Robert Kalloch and the other wizards of silver screen style. Without them, where would so many contemporary fashion designers be?

Oh sure, what designer doesn’t namecheck Adrian or Edith Head as inspiration.

Certainly, too, the Hollywood cinema owes much to ateliers far outside its imaginary borders. Any fashion student worth his or her salt knows that one of Paris’s own Hubert de Givenchy was instrumental in defining Au-

drey Hepburn’s look in just about every one of her films, including fitting her in the most iconic LBD of all time: that endless column topped with strands of pearls in Breakfast at Tiffany’s. Yves Saint Laurent would similarly act as a collaborator with Catherine Deneuve in Belle du Jour. (Forget even citing Gabrielle Chanel’s much ballyhooed yet inevitably ill-fated stint in Hollywood to dress Gloria Swanson. That it’s a footnote, and barely that, in both Hollywood and Chanel’s history proves the point.)

But where would Saint Laurent be without Banton’s creation of a tuxedoed Dietrich in 1930’s Morocco, let alone her subsequent gender-bending looks on and off screen?

They remain standard bearers of the height of sophistication. Despite decades of lax reporting that Givenchy dressed Hepburn for Sabrina, as with most other fashioncentric films since then—with press machines touting a fashion designer’s involvement over that of the costume designer doing the heavy lifting—the couturier contributed some looks to Ms. Hepburn’s overall wardrobe. It was Ms. Head who mostly costumed Ms. Hepburn in that 1954 gem, including those black toreador slacks and flat ballet slippers that have become another staple combo of the chic wardrobe.

Yet to suggest that so much of the glamour coming out of French fashion houses owe Hollywood’s costume designers props? What Gaul. I may have as well declared that anyone other than one of France’s native sons invented haute cuisine. Likewise, my French pals are steadfast that while they might adore cine-

EDITH HEAD (CA. 1955), courtesy The Collections Of The Margaret Herrick Library

SEASON AFTER AWARD SEASON, THE TRIUMPH AD NAUSEAM AMONG SPECTATORS OF THIS TOURNAMENT OF GLAD RAGS IS THE ANODYNE GESTURE TO THAT GRAND TRIED AND TRUE MUSE, OLD HOLLYWOOD GLAMOUR. EVEN THE NEW KIND, THE KIND PERSONIFIED BY THE STRATOSPHERIC LIKES OF PRETTY YOUNG THINGS SUCH AS CAREY MULLIGAN, ELLE FANNING AND EMMA WATSON ARE ALWAYS GIVEN “BEST OF SHOW” WHEN CHANNELING SOMETHING THEIR STYLISTS SPOTTED LATE NIGHT ON TURNER CLASSIC MOVIES. JUST DON’T TELL THE FRENCH THAT.

BY ROSE APODACA

ma, it is the costume designers since the dawn of time who owe their art to the birthplace of haute couture. To that I say, while haute couture can epitomize glamour, glamour doesn’t have to be epitomized by haute couture.

Ms. Vreeland was the first to celebrate cinema’s impact on the fashion world with her third post-Vogue exhibition, “Romantic and Glamorous Hollywood Design,” in 1974.

“Diana, why are we dragging Hollywood into the Metropolitan,” the museum’s director demanded, according to her breezy bio, D.V., published a decade later. “I’ve been looking at French couture for the last 40 years,” the Paris-born legend wrote as her reply, “and I can only tell you that I’ve never seen clothes made like these.”

Like Ms. Vreeland, my friend Deborah Nadoolman Landis has made it her life’s mission for the world to see the clothes that inspire dreamers in movie theaters, as well as on the runway and red carpet. Nearly four decades after Ms. Vreeland’s landmark show at the Met, Deborah has spearheaded a spectacular examination of film costumes and their impact with the release this fall of three weighty tomes for the Harper Design imprint, including (just out in time for holiday gifting) Hollywood Sketchbook: A Century of Costume Illustration. The trio of books is tied to the sweeping exhibition Deborah curated at the Victoria and Albert Museum that also opened this fall.

“Costume designers have many advantages over fashion designers,” Deborah tells me by phone from London, late, late night on the eve before the opening night gala of her grand show. The Oscar-winning costume designer and academic is tucked in bed following a press day more grueling than anything she or her husband, director John Landis, ever underwent for a film premiere, she contends with a laugh.

“Every single costume created for a movie is seen in both a narrative context and a visual one,” she continues. “It is always seen within a perfectly framed image, always, with everyone else there to make that featured character look good. The whole movie is built for that moment. There is an emotional context too, because the very essence of story telling in a

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7 HOLLYWOOD | FALL / WINTER 2012

film is that you have to fall madly in love with the people in the story. As viewers, we are also being directed to look at this object of desire.

This emotional context that is such a part of the film experience can’t happen in a split second on a runway. Life is not a catwalk. Neither are the movies.”

To wit, recreating that perfect moment when the audience falls for the heroine is what drives red carpet regulars and the army behind them—their stylists, managers, agents, publicists and, oh yes, the fashion designers creating the frock—to relentlessly recycle Old Hollywood during awards season. That is also behind the tidal wave of vintage gowns that have become by now a banal badge of individual style and cool.

“What is glamour but power,” adds Deborah. “For us in films, who work as collaborators, it’s about making a moment so irresistible to the viewers that it evokes emotion, memory.

The dress becomes more than a dress, more than surface. It’s absolute soul. It’s an epiphany, a cathartic moment.”

This brings to mind something Salma Hayek told me once upon my first book project: “In the not so distant past, glamour was about being an unapproachable, distant, creature of beauty. To achieve that look required overwhelming artifice in every respect.” For Ms. Hayek, the very meaning of the word was about its etymology, a derivation of the Latin grammatica, meaning scholarship: to learn, to think. That definition shifted during the Middle Ages to mean something of the occult, the science of using ones own inner power, aka magic. “To me,” continued the actress-turned-cosmetics entrepreneur, “this original idea applies equally today. We cast a spell of allure and charm by learning who we are and by expressing ourselves.”

For those whose very raison d’etre relies on worship by legions of fans, be they actresses or the fashion designers who dress them, that means tapping the inner goddess.

The ideals of Old Hollywood glamour remain irresistible because they are such a part of the American mythology, tells me Arianne Phillips, an indefatigable talent, whose flair for creating character—goddesses or otherwise on screen, on stage or on the red carpet—has

meant a striking career as editorial and rock stylist and costume designer. As the latter, that includes 15 years with Madonna, including five world tours and the pop icon’s directorial debut with W.E., for which Arianne was nominated for her second Oscar in costume design.

She also collaborated with Tom Ford on his outing in filmmaking, along with shepherding the careers of countless designers she’s championed (notably, for the purposes here, Madonna’s turn at the Oscars in then-relatively unknown Olivier Theyskens).

“The heritage of Hollywood and the creation of glamour is integral to what we think of as movie magic, especially that magic age of the 1920s, 1930s and 1940s, which was a more innocent time in movies than reality,” observes my friend. “Audiences were introduced to the bias cut gown and other signatures that personified ultimate glamour, ultimate femininity. The Oscar statue itself is a glamour icon of Hollywood. These are the hallmarks of American style, unique to America’s heritage, American mythology.” In other words, goddesses such as Marlene Dietrich, Joan Crawford and Marilyn Monroe shining atop Los Angeles’ own Mount Olympus, the Hollywood sign. “Of course, these timeless archetypes keep echoing in fashion on the runway and on the red carpet.”

Ultimately, we agree, the relationship between fashion and Hollywood is a conversation. “It’s always been about seizing a moment in time,” Arianne says, sounding as if she were thinking aloud. She is still referring to the idea of clothes on film and what motivates designers and actors on the red carpet. She could also be speaking about the French way.

Given that it’s not so much that my French friends decry Hollywood as much as they prefer to think of glamour as something Hollywood could not know anything about without their contribution and guidance, let’s just say for the sake of argument that examining its source and meaning in New Hollywood is a conversation that will continue. As for who will best channel the legendary sirens of the silver screen in the hopes of becoming the icons for the next generation to worship, we will have to tune in for the pre-shows to find out.

(top) BETTE DAVIS DRESS FOR DEAD RINGER (1964). costume designer: DONFELD. courtesy of The Collection Of David C. Copley.

ICON forever

SEAN YOUNG

in Blade Runner (1982) courtesy The Collections of the Margaret Herrick Library

ma, it is the costume designers since the dawn of time who owe their art to the birthplace of haute couture. To that I say, while haute couture can epitomize glamour, glamour doesn’t have to be epitomized by haute couture.

Ms. Vreeland was the first to celebrate cinema’s impact on the fashion world with her third post-Vogue exhibition, “Romantic and Glamorous Hollywood Design,” in 1974.

“Diana, why are we dragging Hollywood into the Metropolitan,” the museum’s director demanded, according to her breezy bio, D.V., published a decade later. “I’ve been looking at French couture for the last 40 years,” the Paris-born legend wrote as her reply, “and I can only tell you that I’ve never seen clothes made like these.”

Like Ms. Vreeland, my friend Deborah Nadoolman Landis has made it her life’s mission for the world to see the clothes that inspire dreamers in movie theaters, as well as on the runway and red carpet. Nearly four decades after Ms. Vreeland’s landmark show at the Met, Deborah has spearheaded a spectacular examination of film costumes and their impact with the release this fall of three weighty tomes for the Harper Design imprint, including (just out in time for holiday gifting) Hollywood Sketchbook: A Century of Costume Illustration. The trio of books is tied to the sweeping exhibition Deborah curated at the Victoria and Albert Museum that also opened this fall.

“Costume designers have many advantages over fashion designers,” Deborah tells me by phone from London, late, late night on the eve before the opening night gala of her grand show. The Oscar-winning costume designer and academic is tucked in bed following a press day more grueling than anything she or her husband, director John Landis, ever underwent for a film premiere, she contends with a laugh.

“Every single costume created for a movie is seen in both a narrative context and a visual one,” she continues. “It is always seen within a perfectly framed image, always, with everyone else there to make that featured character look good. The whole movie is built for that moment. There is an emotional context too, because the very essence of story telling in a

298

7 HOLLYWOOD | FALL / WINTER 2012

film is that you have to fall madly in love with the people in the story. As viewers, we are also being directed to look at this object of desire.

This emotional context that is such a part of the film experience can’t happen in a split second on a runway. Life is not a catwalk. Neither are the movies.”

To wit, recreating that perfect moment when the audience falls for the heroine is what drives red carpet regulars and the army behind them—their stylists, managers, agents, publicists and, oh yes, the fashion designers creating the frock—to relentlessly recycle Old Hollywood during awards season. That is also behind the tidal wave of vintage gowns that have become by now a banal badge of individual style and cool.

“What is glamour but power,” adds Deborah. “For us in films, who work as collaborators, it’s about making a moment so irresistible to the viewers that it evokes emotion, memory.

The dress becomes more than a dress, more than surface. It’s absolute soul. It’s an epiphany, a cathartic moment.”

This brings to mind something Salma Hayek told me once upon my first book project: “In the not so distant past, glamour was about being an unapproachable, distant, creature of beauty. To achieve that look required overwhelming artifice in every respect.” For Ms. Hayek, the very meaning of the word was about its etymology, a derivation of the Latin grammatica, meaning scholarship: to learn, to think. That definition shifted during the Middle Ages to mean something of the occult, the science of using ones own inner power, aka magic. “To me,” continued the actress-turned-cosmetics entrepreneur, “this original idea applies equally today. We cast a spell of allure and charm by learning who we are and by expressing ourselves.”

For those whose very raison d’etre relies on worship by legions of fans, be they actresses or the fashion designers who dress them, that means tapping the inner goddess.

The ideals of Old Hollywood glamour remain irresistible because they are such a part of the American mythology, tells me Arianne Phillips, an indefatigable talent, whose flair for creating character—goddesses or otherwise on screen, on stage or on the red carpet—has

meant a striking career as editorial and rock stylist and costume designer. As the latter, that includes 15 years with Madonna, including five world tours and the pop icon’s directorial debut with W.E., for which Arianne was nominated for her second Oscar in costume design.

She also collaborated with Tom Ford on his outing in filmmaking, along with shepherding the careers of countless designers she’s championed (notably, for the purposes here, Madonna’s turn at the Oscars in then-relatively unknown Olivier Theyskens).

“The heritage of Hollywood and the creation of glamour is integral to what we think of as movie magic, especially that magic age of the 1920s, 1930s and 1940s, which was a more innocent time in movies than reality,” observes my friend. “Audiences were introduced to the bias cut gown and other signatures that personified ultimate glamour, ultimate femininity. The Oscar statue itself is a glamour icon of Hollywood. These are the hallmarks of American style, unique to America’s heritage, American mythology.” In other words, goddesses such as Marlene Dietrich, Joan Crawford and Marilyn Monroe shining atop Los Angeles’ own Mount Olympus, the Hollywood sign. “Of course, these timeless archetypes keep echoing in fashion on the runway and on the red carpet.”

Ultimately, we agree, the relationship between fashion and Hollywood is a conversation. “It’s always been about seizing a moment in time,” Arianne says, sounding as if she were thinking aloud. She is still referring to the idea of clothes on film and what motivates designers and actors on the red carpet. She could also be speaking about the French way.

Given that it’s not so much that my French friends decry Hollywood as much as they prefer to think of glamour as something Hollywood could not know anything about without their contribution and guidance, let’s just say for the sake of argument that examining its source and meaning in New Hollywood is a conversation that will continue. As for who will best channel the legendary sirens of the silver screen in the hopes of becoming the icons for the next generation to worship, we will have to tune in for the pre-shows to find out.

(top) BETTE DAVIS DRESS FOR DEAD RINGER (1964). costume designer: DONFELD. courtesy of The Collection Of David C. Copley.

ICON forever

SEAN YOUNG

in Blade Runner (1982) courtesy The Collections of the Margaret Herrick Library

ROCK 'N' ROLL BILLBOARDS OF THE SUNSET STRIP

Vision of a lost Los Angeles: 1966, the Sunset Strip, the most iconic blocks of the most famous street in the world (save for the Champs-Élysées), pulsing with a spontaneous, passionate mishmash of rock, youth culture, art and political unrest. It was a legendary zone, where former Hollywood hotspots like Ciro’s, the Mocambo and the Trocadero gave way to Pandora’s Box (where the legendary Sunset Strip riots occurred, with angry youth protesting club curfews), and the Whisky a Go Go (where Jac Holzman of Elektra Records, a small indie label then, discovered THE Jim Morrison and the Doors).

300

7 HOLLYWOOD | FALL / WINTER 2012

Holzman couldn't have anticipated it at the time, but he set in motion an ad hoc collision between the counterculture and the mainstream. These worlds struck head-on during an era when icons ruled intersections, billboards shaped the skyline and sex, drugs and rock ’n’ roll reigned supreme (and spent the night together) at hotels like the Continental Hyatt House (aka the “Riot Hyatt,” now the Andaz West Hollywood) and the Sunset Tower (aka the Argyle). How did a struggling producer change an entire landscape? He unveiled a hand-painted billboard featuring the still-unknown Doors just steps away from the

illustrious Chateau Marmont, and from January 1967 through the 1980s, gigantic visions of stars ranging from Buffalo Springfield to Blondie gazed down from above, edging out cigarettes and cereal for rock ’n’ roll, the only music that mattered.

It's this cataclysm of music, car culture and imagination that Rock ’N’ Roll Billboards of the Sunset Strip chronicles. A reclusive 16-year-old boy had just moved with his dad into a hillside apartment above Tower Records in 1969. He possessed a Nikkormat camera, which gave him a sense of purpose. His dad owned a gallery that mixed German and Austrian Expressionism with California artists like John McLaughlin and Rich-

From Rock ’n’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City

BY ROBERT L ANDAU PUBLISHED BY ANGEL CIT Y PRESS

ard Diebenkorn, so the boy, Landau, was attuned to fine art. But it was the billboards that transfixed him, transforming Sunset Strip into an outdoor gallery. He shot the Strip for years—everyone from Alice Cooper to Frank Zappa. The Beatles, united in their Abbey Road crosswalk, and John, Paul, George and Ringo in their solo incarnations. He captured controversy: the Rolling Stones misogynistic Black and Blue billboard, featuring a bruised, bound model (Anita Russell) adorned with graffiti. The Kodachromes piled up and he stored them in binders for decades.

Published by Angel City Press, Rock ’N’ Roll Billboards of the Sunset Strip is the reawakening

of a time it truly mattered what bands you liked (perhaps it still does) and a 1.7-mile span became an ephemeral Stonehenge, punctuated by great collaborative works of art between myriad photographers, illustrators, designers, art directors, painters, woodcutters and other artists who remained relatively obscure while their images loomed large. Landau’s book is a bound testament to a larger-than-life world, a 208-page snapshot of time before MTV and MP3 downloads drove these fleeting monuments into oblivion, leaving the street to its next evolution. “After the sun goes down in L.A.," Landau says, "that hallowed pavement has, over the years, been navigated by stars,

starlets, gangsters, crooners, hipsters, winos, beatniks, hippies, teeny boppers, hustlers, rock stars, groupies, junkies, yuppies, punks, Gen-Xers, rappers and anyone else looking for a place to convene with a like spirit.” It’s only rock ’n’ roll, but he likes it.

By Joyce Pennell

ROCK 'N' ROLL BILLBOARDS OF THE SUNSET STRIP

Vision of a lost Los Angeles: 1966, the Sunset Strip, the most iconic blocks of the most famous street in the world (save for the Champs-Élysées), pulsing with a spontaneous, passionate mishmash of rock, youth culture, art and political unrest. It was a legendary zone, where former Hollywood hotspots like Ciro’s, the Mocambo and the Trocadero gave way to Pandora’s Box (where the legendary Sunset Strip riots occurred, with angry youth protesting club curfews), and the Whisky a Go Go (where Jac Holzman of Elektra Records, a small indie label then, discovered THE Jim Morrison and the Doors).

300

7 HOLLYWOOD | FALL / WINTER 2012

Holzman couldn't have anticipated it at the time, but he set in motion an ad hoc collision between the counterculture and the mainstream. These worlds struck head-on during an era when icons ruled intersections, billboards shaped the skyline and sex, drugs and rock ’n’ roll reigned supreme (and spent the night together) at hotels like the Continental Hyatt House (aka the “Riot Hyatt,” now the Andaz West Hollywood) and the Sunset Tower (aka the Argyle). How did a struggling producer change an entire landscape? He unveiled a hand-painted billboard featuring the still-unknown Doors just steps away from the

illustrious Chateau Marmont, and from January 1967 through the 1980s, gigantic visions of stars ranging from Buffalo Springfield to Blondie gazed down from above, edging out cigarettes and cereal for rock ’n’ roll, the only music that mattered.

It's this cataclysm of music, car culture and imagination that Rock ’N’ Roll Billboards of the Sunset Strip chronicles. A reclusive 16-year-old boy had just moved with his dad into a hillside apartment above Tower Records in 1969. He possessed a Nikkormat camera, which gave him a sense of purpose. His dad owned a gallery that mixed German and Austrian Expressionism with California artists like John McLaughlin and Rich-

From Rock ’n’ Roll Billboards of the Sunset Strip by Robert Landau, published by Angel City

BY ROBERT L ANDAU PUBLISHED BY ANGEL CIT Y PRESS

ard Diebenkorn, so the boy, Landau, was attuned to fine art. But it was the billboards that transfixed him, transforming Sunset Strip into an outdoor gallery. He shot the Strip for years—everyone from Alice Cooper to Frank Zappa. The Beatles, united in their Abbey Road crosswalk, and John, Paul, George and Ringo in their solo incarnations. He captured controversy: the Rolling Stones misogynistic Black and Blue billboard, featuring a bruised, bound model (Anita Russell) adorned with graffiti. The Kodachromes piled up and he stored them in binders for decades.

Published by Angel City Press, Rock ’N’ Roll Billboards of the Sunset Strip is the reawakening

of a time it truly mattered what bands you liked (perhaps it still does) and a 1.7-mile span became an ephemeral Stonehenge, punctuated by great collaborative works of art between myriad photographers, illustrators, designers, art directors, painters, woodcutters and other artists who remained relatively obscure while their images loomed large. Landau’s book is a bound testament to a larger-than-life world, a 208-page snapshot of time before MTV and MP3 downloads drove these fleeting monuments into oblivion, leaving the street to its next evolution. “After the sun goes down in L.A.," Landau says, "that hallowed pavement has, over the years, been navigated by stars,

starlets, gangsters, crooners, hipsters, winos, beatniks, hippies, teeny boppers, hustlers, rock stars, groupies, junkies, yuppies, punks, Gen-Xers, rappers and anyone else looking for a place to convene with a like spirit.” It’s only rock ’n’ roll, but he likes it.

By Joyce Pennell

HOLLYWOOD

SHOPLIST ADIDAS adidas.com ALEXANDER MCQUEEN alexandermcqueen.com ALEXANDER WANG alexanderwang.com ALEXANDRE VAUTHIER alexandrevauthier.com AMERICAN APPAREL americanapparel.net AZZEDINE ALAÏA +33.1.40.27.85.58 BALMAIN balmain.com BILL BLASS billblass.com BOSS BLACK hugoboss.com BOTTEGA VENETA bottegaveneta.com BUMBLE AND BUMBLE bumbleandbumble.com BURBERRY burberry.com CALVIN KLEIN COLLECTION calvinklein.com CARTIER cartier.com CATHERINE MALANDRINO catherinemalandrino.com CÉLINE celine.com CESARE PACIOTTI cesare-paciotti.com CHANEL chanel.com CHLOÉ chloe.com CHRISTIAN LOUBOUTIN christianlouboutin.com CLINIQUE clinique.com DAVID YURMAN davidyurman.com DIANE VON FURSTENBERG dvf.com DIESEL diesel.com DIOR dior.com DOLCE & GABBANA dolcegabbana.com DRIES VAN NOTEN driesvannoten.be DSQUARED2 dsquared2.com ELIE SAAB eliesaab.com EMILIO PUCCI emiliopucci.com EQUIPMENT equipmentfr.com ESTÉE LAUDER esteelauder.com ETRO etro.com EXPRESS express.com GIAMBATTISTA Valli giambattistavalli.com GIORGIO ARMANI armani.com GIUSEPPE ZANOTTI DESIGN giuseppezanottidesign.com GIVENCHY BY RICCARDO TISCI givenchy.com GUCCI gucci.com GUESS guess.com HAKAAN OPENING CEREMONY 212.219.2688 HERMÈS hermes.com

302

7 HOLLYWOOD | FALL / WINTER 2012

ISABEL MARANT isabelmarant.tm.fr JEAN PAUL GAULTIER jeanpaulgaultier.com JIL SANDER jilsander.com JUNYA WATANABE 212.604.9200 KENZO kenzo.com L’ORÉAL Paris lorealparis.com LANCÔME lancome-usa.com LANVIN lanvin.com LEVI’S levi.com LOUIS VUITTON louisvuitton.com M MISSONI m-missoni.com M.A.C COSMETICS maccosmetics.com MARC JACOBS marcjacobs.com MARTIN MARGIELA maisonmartinmargiela.com MICHAEL KORS michaelkors.com MIKIMOTO mikimotoamerica.com MIU MIU miumiu.com MUGLER mugler.com NORMA KAMALI normakamalicollection.com POMELLATO pomellato.com PRADA prada.com RAG & BONE rag-bone.com RALPH LAUREN ralphlauren.com RICK OWENS rickowens.eu ROBERTO CAVALLI robertocavalli.com SALVATORE FERRAGAMO ferragamo.com SERGIO ROSSI sergiorossi.com SHU UEMURA shuuemura-usa.com SISLEY sisley.com STELLA MCCARTNEY stellamccartney.com TOM FORD tomford.com THE WAY WE WORE thewaywewore.com UNIQLO uniqlo.com VALENTINO valentino.com VERSACE versace.com VICTORIA'S SECRET victoriassecret.com VIKTOR & ROLF viktor-rolf.com WOLFORD wolford.com WHAT GOES AROUND COMES AROUND whatgoesaroundnyc.com YOHJI YAMAMOTO yohjiyamamoto.co.jp YVES SAINT LAURENT ysl.com ZAHIA COLLECTION zahia.com

HAIR REFERENCE

for the movie North by Northwest (1959) photo James Manatt Courtesy the Collections of the Margaret Herrick Library.

HOLLYWOOD

SHOPLIST ADIDAS adidas.com ALEXANDER MCQUEEN alexandermcqueen.com ALEXANDER WANG alexanderwang.com ALEXANDRE VAUTHIER alexandrevauthier.com AMERICAN APPAREL americanapparel.net AZZEDINE ALAÏA +33.1.40.27.85.58 BALMAIN balmain.com BILL BLASS billblass.com BOSS BLACK hugoboss.com BOTTEGA VENETA bottegaveneta.com BUMBLE AND BUMBLE bumbleandbumble.com BURBERRY burberry.com CALVIN KLEIN COLLECTION calvinklein.com CARTIER cartier.com CATHERINE MALANDRINO catherinemalandrino.com CÉLINE celine.com CESARE PACIOTTI cesare-paciotti.com CHANEL chanel.com CHLOÉ chloe.com CHRISTIAN LOUBOUTIN christianlouboutin.com CLINIQUE clinique.com DAVID YURMAN davidyurman.com DIANE VON FURSTENBERG dvf.com DIESEL diesel.com DIOR dior.com DOLCE & GABBANA dolcegabbana.com DRIES VAN NOTEN driesvannoten.be DSQUARED2 dsquared2.com ELIE SAAB eliesaab.com EMILIO PUCCI emiliopucci.com EQUIPMENT equipmentfr.com ESTÉE LAUDER esteelauder.com ETRO etro.com EXPRESS express.com GIAMBATTISTA Valli giambattistavalli.com GIORGIO ARMANI armani.com GIUSEPPE ZANOTTI DESIGN giuseppezanottidesign.com GIVENCHY BY RICCARDO TISCI givenchy.com GUCCI gucci.com GUESS guess.com HAKAAN OPENING CEREMONY 212.219.2688 HERMÈS hermes.com

302

7 HOLLYWOOD | FALL / WINTER 2012

ISABEL MARANT isabelmarant.tm.fr JEAN PAUL GAULTIER jeanpaulgaultier.com JIL SANDER jilsander.com JUNYA WATANABE 212.604.9200 KENZO kenzo.com L’ORÉAL Paris lorealparis.com LANCÔME lancome-usa.com LANVIN lanvin.com LEVI’S levi.com LOUIS VUITTON louisvuitton.com M MISSONI m-missoni.com M.A.C COSMETICS maccosmetics.com MARC JACOBS marcjacobs.com MARTIN MARGIELA maisonmartinmargiela.com MICHAEL KORS michaelkors.com MIKIMOTO mikimotoamerica.com MIU MIU miumiu.com MUGLER mugler.com NORMA KAMALI normakamalicollection.com POMELLATO pomellato.com PRADA prada.com RAG & BONE rag-bone.com RALPH LAUREN ralphlauren.com RICK OWENS rickowens.eu ROBERTO CAVALLI robertocavalli.com SALVATORE FERRAGAMO ferragamo.com SERGIO ROSSI sergiorossi.com SHU UEMURA shuuemura-usa.com SISLEY sisley.com STELLA MCCARTNEY stellamccartney.com TOM FORD tomford.com THE WAY WE WORE thewaywewore.com UNIQLO uniqlo.com VALENTINO valentino.com VERSACE versace.com VICTORIA'S SECRET victoriassecret.com VIKTOR & ROLF viktor-rolf.com WOLFORD wolford.com WHAT GOES AROUND COMES AROUND whatgoesaroundnyc.com YOHJI YAMAMOTO yohjiyamamoto.co.jp YVES SAINT LAURENT ysl.com ZAHIA COLLECTION zahia.com

HAIR REFERENCE

for the movie North by Northwest (1959) photo James Manatt Courtesy the Collections of the Margaret Herrick Library.